A Mark In Time
Previous Tours => 2011 Mark Knopfler & Bob Dylan Tour => Topic started by: Justme on August 06, 2011, 02:57:06 PM
-
Hello there,
as the first seat assignments have been sent out, I was wondering if it might be a good idea to set up a thread where people can agree upon sharing there seats.
I am sure, there are a lot of BD fans who are simply not interested in seeing MK. And on the other hand, some people only bought tickets to listen to MK.
In conclusion this could lead to some empty seats in the front during the MK slot and when BD starts to play there might some good seats remain unoccupied because of MK fans leaving the venue who can't be bothered to listen to BD.
So this thread good be the place where BD and MK listeners meet and arrange a seat sharing to get the best live experience.
Is this a good idea?
-
yes, but it should be set up on their turf as well, otherwise there won't be too many deals, i fear.
-
Just received the mails. I got section 102, row 1, seats 1 and 2 for Mannheim, so I suppose I must have been the first one who odererd?? LOL
Anyway, and I got row 5, seat 10 in section A for Berlin, even though I ordered just a couple of seconds later... Interesting.
Am quite satisfied, though! ;D
-
my seats in oberhausen:
Section Block 2, Row B, Seat(s) 1, 2
-
So this thread good be the place where BD and MK listeners meet and arrange a seat sharing to get the best live experience.
Is this a good idea?
Will be an excellent idea until the awaited duet take place on stage : then general fight beetwen MK and BD fan to get the good seats ;)
-
Thats a very unlikely situation.
Bob Dylan fans know that their only chance to get a good spot (where there are no seats) is to queue and they do not know yet, but they are gonna love MK set ;D
MK fans (us) know that if we get good spots during MK part, we will want to mantein that spot like when someone reach the top of a mountain and stick his flag there. And also we will want to know how is when an artist change his setlist so frequently and how he plays the song in a way that even die-hard fans can
-
It struck me last night that it might be difficult to work out when "Ze running of the bulls" will be allowed - because of the shortened set. I am not sure MK will play Telegraph Road, so I think I have to read the first reviews to work out if and when the folks were allowed to stand up and rush to the stage - which I considered not to do because I really want to try to go to my show unspoiled...
(Not that I have any hope to perservere...)
So what do you think? Is it likely that the Dylan fans allow us to rush to the stage?
LE
-
like we care what they allow us?
-
It struck me last night that it might be difficult to work out when "Ze running of the bulls" will be allowed - because of the shortened set. I am not sure MK will play Telegraph Road, so I think I have to read the first reviews to work out if and when the folks were allowed to stand up and rush to the stage - which I considered not to do because I really want to try to go to my show unspoiled...
(Not that I have any hope to perservere...)
So what do you think? Is it likely that the Dylan fans allow us to rush to the stage?
LE
Unless they are bullfighters, do they have a choice? ;D
-
like we care what they allow us?
Well, I thought they all must be 20 or 30 years older than us (on average), so I only wanted to be polite... I know of course that you, from row B, will be the first Knopfler fan to stand up and rush directly in front of Mark's place... I will have an eye on you and follow you up immediately! :P
LE
-
MK is the "first act", so no running of the bulls allowed until Bob set, and, well, who will do that during BD set?
;D
-
Well, I will do "Ze running of the bull(s)", in case of need all alone, to give Mark the right response! Marbletown would be a great opportunity!
LE
-
;D
-
Was there bull running during the ATRR tour? If so, after which song? Would be interesting to know; I can't remember...
-
Was there bull running during the ATRR tour? If so, after which song? Would be interesting to know; I can't remember...
It was after Speedway, because we didn't have TR on ATRR tour. I ran to the stageside at Manchester.
It was slightly different to this tour, though, because MK and Emmylou didn't have two separate sets. :)
-
Was there bull running during the ATRR tour? If so, after which song? Would be interesting to know; I can't remember...
It was after Speedway, because we didn't have TR on ATRR tour. I ran to the stageside at Manchester.
It was slightly different to this tour, though, because MK and Emmylou didn't have two separate sets. :)
Ahh, Speedway it was, now I remember, thanks! Yes I know there were no seperate sets, I was just curious :)
So I guess there will be bull running after Speedway again this time, pretty sure MK will play that one.
-
The break only justifies the bull running in my opinion.. why should we not? Everybody will move around and go to the toilet or have a beer during that 20 or 30 minutes' break - so if we rush to the stage for the last 15 minutes of MK's set nobody can be pissed with that...
LE
-
I think the ticket exchange is a good idea. I fell prey to a system that sold tickets for the Innsbruck show, but didn't tell me which seats I had until the tickets actually arrived, and they are in row 8. :( If anyone would lend my friend and myself their front seats for that show during Bob's set, we would gladly let you have our front row seats in either Nuremberg or Munich during MK's set. :) Or if you want to leave the Innsbruck venue after MK and give up your tickets, or whatever.... say, do you wanna make a deal?
PS: I for one am not 20 to 30 years older than the average MK fan. I'm not even 30 years old, so how could I be 30 years older? :lol
-
I think the ticket exchange is a good idea. I fell prey to a system that sold tickets for the Innsbruck show, but didn't tell me which seats I had until the tickets actually arrived, and they are in row 8. :( If anyone would lend my friend and myself their front seats for that show during Bob's set, we would gladly let you have our front row seats in either Nuremberg or Munich during MK's set. :) Or if you want to leave the Innsbruck venue after MK and give up your tickets, or whatever.... say, do you wanna make a deal?
PS: I for one am not 20 to 30 years older than the average MK fan. I'm not even 30 years old, so how could I be 30 years older? :lol
hey Visions, thanks for the offer, now only if i would live in friggin Innsbruck ;-)
anyhoo, the offer is for all dylan fans, can you spread the word on the other forum(s)??
-
although i am definitely seeing both artists from my rather nice second and 5th row seats in Oberhausen and Antwerp.
-
hey Visions, thanks for the offer, now only if i would live in friggin Innsbruck ;-)
anyhoo, the offer is for all dylan fans, can you spread the word on the other forum(s)??
Hi Pottel,
I saw you over at the BD forum expectingrain.com.... don't let some of the people there scare you off.
Anyway, I just started a thread at ER linking to this thread, so here's the link back to us - hoping for some positive exchange of thoughts and tickets:
http://expectingrain.com/discussions/viewtopic.php?f=2&t=61728
-
although i am definitely seeing both artists from my rather nice second and 5th row seats in Oberhausen and Antwerp.
Same for me. I keep my seats though they are pretty bad. ::)
I've even got one is from last row in Glasgow. Would be offending to share it with someone else. ;)
-
Anyway, I just started a thread at ER linking to this thread, so here's the link back to us - hoping for some positive exchange of thoughts and tickets:
http://expectingrain.com/discussions/viewtopic.php?f=2&t=61728
Good luck.
-
Indeed.
The idea of Pottel was great, and the efforts Johanna made were also, but you just have to read the now already developing thread to know what kind of place ER is and what's the spirit over there. I for my part would never change my seat with such arrogant folks, sorry. It will be fun to see them rolling/rushing to the stage with their walking frames(don't forget, they are 20 to 30 years older then US!!) :lol :lol
LE
-
(don't forget, they are 20 to 30 years older then US!!) :lol :lol
LE
Hey, LE - Can I whisper in your ear, "I am too, but I can still beat younger fans in the running of the bulls!" ;D :lol
-
What
-
Bob Dylan fans on that forum are in the main pretty short sighted arrogant bunch. :(
Hope MK blows them away with his vastly superior musicianship/band/persona.
I am really looking forward to hearing Bob as he is one of my fav songwriters.
I would be wary of swapping seats cos what if MK plays with Dylan at the end and u r stuck at the back......too risky!!!
;D
-
What
-
my last remark was said tongue in cheek as a joke, I don't think "they" are anything. I don't like generalising and think all fans of BD are so and so just because there are a couple of idiots writing on that forum
-
I'm more a Bob Dylan fan but my partner favours Mark Knopfler. In consequence, I have attended many DS/NHB/MK concerts over the years from small venues to large arenas and from relatively small-scale festivals to huge stadia. And, of course, I have attended a large number of Dylan shows over the last 45 years. While I have no inside knowledge about how things will happen on the forthcoming MK/BD tour, few comments from my perspective may help.
1) Do not rely on Dylan fans all being older. While I (and other) Dylan fans are getting on in years, many are not. There is, indeed, currently a discussion on one of the many Dylan on-line fora about Dylan's young fans (say, 16 to 30 years of age) came into the fold
2) Do not expect Dylan fans to hold back before charging to the front of the stage. It is quite common at Dylan concerts for this to start the moment the house lights go down. I have been fortunate enough to get front row centre seats at quite a few Dylan shows and have had to be ready to lift up everything I've brought to the show and step sharply forward to the stage apron in order not to lose the advantage of a good position. It doesn't always happen but often enough. It won't be a problem at the GA standing venues, of course.
3) BD fans are as fanatical as any others - perhaps more so if the number of books on Dylan (there are several hundreds of them), bootleg albums (also several 100s), websites (dozens and dozens) and the like are anything to go by - but you will also find a fair amount of criticism, sometimes quite vehement, as well as travelling fans who you will see at a lot of different shows.
There are also, incidentally, two surviving print fanzines ("Isis" and "The Bridge") which will doubtless cover the tour in some detail.
4) Dylan and Knopfler shows are very different in character. Knopfler talks to the audience between songs (often the same jokes repeated) with showbiz-style comments; Dylan does not. Knopfler introduces his band, usually with great generosity; Dylan does not. Knopfler sticks to a pretty similar set list each night; Dylan does not. Knopfler has a well drilled band and builds upon this in performance; Dylan has rehearsed many songs but is just as likely to change things unexpectedly in performance, living for the moment, as it were. The overall effect: Knopfler offers a smooth show with moments of great artistry but pretty much as expected night by night; Dylan offers greater variation both within a concert and between concerts, so enjoy the times when he really gets inside songs and delivers them with passion and authority.
5) Although some of the shows most beloved by his fans took place in the 1960s and the 1970s, Dylan has been playing 100 shows a year for the last 25 years. He also turned 70 this year. The effect on his voice is marked but, despite his now limited range, effective singing is not only about hitting the notes. Indeed, it is often the gaps between the words, the stress (or lack of it) on particular words and the stretching (or the opposite - compressing) particular words or parts of the lyric that really make the difference. His vocal delivery nowadays can also see him swallowing lyrics, so you'll really have to concentrate to get the most out of it. It's not always an easy listening experience and can be challenging but also very rewarding.
I emphasize that all this may change and may be redundant by the time the tour starts, as Dylan himself changes. He certainly doesn't need to tour as much as he does from the financial point of view but it's what he does and what he has been doing for 50 years now.
-
2) Do not expect Dylan fans to hold back before charging to the front of the stage. It is quite common at Dylan concerts for this to start the moment the house lights go down. I have been fortunate enough to get front row centre seats at quite a few Dylan shows and have had to be ready to lift up everything I've brought to the show and step sharply forward to the stage apron in order not to lose the advantage of a good position. It doesn't always happen but often enough. It won't be a problem at the GA standing venues, of course.
No problems for MK fans then, as Mark is on first and if we are to believe the BD fora, they do not intend to be there until Bob arrives and if they do attend, they have no interest in MK at all! ;D
I will be at the concert to see both MK and BD, so I will be ready for the bull-running when it appears to be starting! :lol
BTW Welcome to this forum and thanks for all your information! :)
-
Welcome TWM
Great to have a Dylan fan here with good balanced view on both artists.
I don't like that much the "us and them" atmosphere that spread beetwen the BD fan and MK fan and I was a bit surprised as I did not experience the same with EC or DG fans - that also I am (btw I would be delighted by an MK/EC or a MK/DG double bill).
-
thanks twm for a very sensible and informative post.
I would like to point out that of course I am not SO stupid to really think that every Dylan fan is about 65 years or older - even if at ER they think I am really serious about this - it was of course meant in a funny way. ( And this "them" and "us" was not invented by me of course, but indeed I really see a great lack of humour "over there" ;) ).
So I might underline the fact that I am following Dylan for nearly exactly the same time as I follow Mark, about 26 years now, and every new album of Bob is detected well and very much appreciated. From all the other heroes out there that have been named (Cale, Clapton, Gilmour and so on) I think Dylan is the perfect and best choice when it comes to choosing a partner for Mark to tour with or even duetting on an album.
So thanks again, twm, for giving some illuminative information and comments, and welcome on this forum from me too.
LE
-
I
-
I
-
;D In that case I'd better remember to wear a nice bra! ;D
Even better : wear no bra at all :lol
-
;D In that case I'd better remember to wear a nice bra! ;D
Even better : wear no bra at all :lol
when you get to a certain age, you need support... and as the majority of people in the audience will be in their 50s or 60s.....
it's too risky, wouldn't be a pretty sight!!
-
;D
-
;D In that case I'd better remember to wear a nice bra! ;D
Even better : wear no bra at all :lol
when you get to a certain age, you need support... and as the majority of people in the audience will be in their 50s or 60s.....
it's too risky, wouldn't be a pretty sight!!
Ooohhh .....uuuuhhh..........Mrs. President, are you talking about me? (http://img.photobucket.com/albums/v510/Fieneke2/Emoticons/Roflbig.gif)
(http://img.photobucket.com/albums/v510/Fieneke2/Several%20subjects/Gettingolderimage011-1.jpg)
BTW welcome TWM to this wonderful forum and for sharing your information about Bob with us! ;)
Fieneke
-
ROFL!!! :lol :lol I needed a good laugh, it's been a hard day! :lol :-*
-
Thanks for the various "welcomes"; it is appreciated.
My point on stage-rushing was that, whereas MK fans tend to wait until a particular point is the show before dashing to the front, Dylan fans seek to make the move from the very start of DYlan's performance (and often succeed).
For many of the shows on the coming tour, the GA-standing arrangements will render my comments invalid anyway but, for the seated venues, it will be interesting to see what happens.
I do not wish to foster discord here but please bear with me. By and large, I have preferred the NHB and MK (solo) concerts to the DS concerts that I have attended. Why, I wondered. My conclusion is that I don't much go for what I might call stadium rock. It isn't just Mark for me. I have attended and enjoyed a solo Springsteen concert and one of his Seeger Sessions dates but have never felt impelled to go to one of his "standard" shows. Similarly, I attended several early Pink Floyd shows in the late-1960s (at a college dance, at The Roundouse and "Games For May" at the Queen Elizabeth Hall) but just lost interest in their music thereafter. I suspect that I'm not the only Bob Dylan fan so minded. On the other hand, many Mark Knopfler fans seem to get more animated during the DS material. Certainly, at the MK solo concerts that I have attended, it is the DS material that gets the most immediate crowd response and, at The Straits concert at the Royal Albert Hall earlier this year, audience reaction clearly showed the attraction of the "old-style" DS performance. I should add that I am not entirely against songs from the DS era. For example, I first heard R&J on a folk music radio programme (!), was much struck by it and have rarely not enjoyed it in concert. On the other hand, that long "Calling Elvis" intro to those early 1990s DS shows used to cause me a touch of dread - I couldn't wait for it to finish. And I found the shorter "Speedway" on the last MK tour much more focussed than the longer version on the tour before last. But that's just me. I can't speak for other Dylan fans.
-
Certainly, at the MK solo concerts that I have attended, it is the DS material that gets the most immediate crowd response
Yes, of course, the DS material always gets a good response, especially TR and SOS, but, the solo material, such as Marbletown and Speedway get an equally good response too! :)
-
Interesting thoughts. I think the greater part of Mark's 10.000-audiences is not what we call "fan", they maybe go to a show for nostalgic reasons. MK fans always experience the same: Talking about your favourite muso, you get dialogues like "Mark who...?" - "The one from Dire Straits..." - "Ah, Dire Straits - Money For Nothing, right? And Sultans of Swing... yeah I remember... wot, is he STILL going?"
I would presume that the new songs that have been played in the last five years (Hill Farmer's Blues, Marbletown, Postcards From Paraguay, Piper To The End and others) are the real highlights for "us" fans. But Mark has to do justice to the people that come to his shows. He himself speaks about "milestones" that his songs can be in the lifes of those people. I often asked myself how many people of the bigger audiences have seen MK (or DS) more than one or two times in the past. Yes, he sells out big arenas and venues, so one could come to the conclusion that there is always the same 500 000 people going to his tours. But who knows.
LE
-
Yes, of course LE just to add to what you said: the reason that the more obvious/popular songs from DS era get a louder response is due to the tourist element in the audience. That is those who remember DS from years back but kind of lost touch with his solo stuff and maybe heard MK was going to be playing and thought they'd come along and hear all the oldies again. This is of course why he has to play these songs and I for one think it's a good thing too because they mostly liven up the set on the whole.
-
Talking about your favourite muso, you get dialogues like "Mark who...?"
Yesterday I went to the ticket shop to get two extra tickets for "Mark Knopfler in Geneva , Nov 15".
Didn't sound they very familiar to them ;)
Then I said "please look under Bob Dylan", and that was more efficient. ::)
-
Yesterday I went to the ticket shop to get two extra tickets for "Mark Knopfler in Geneva , Nov 15".
Didn't sound they very familiar to them ;)
Then I said "please look under Bob Dylan", and that was more efficient. ::)
Not surprising, it is the Bob Dylan's tour
-
Yesterday I went to the ticket shop to get two extra tickets for "Mark Knopfler in Geneva , Nov 15".
Didn't sound they very familiar to them ;)
Then I said "please look under Bob Dylan", and that was more efficient. ::)
Not surprising, it is the Bob Dylan's tour
Yes, we shouldn
-
This review of a recent Dylan show reflects, more or less, what I wrote in an earlier post here:
http://www.philly.com/philly/entertainment/20110819_Dylan_engaged_and_frisky_in_Philadelphia_gig.html
I thought that MK fans might find it of some interest.
-
It is interesting indeed. Looking forward to my show very much. It seems clear that Dylan usually plays a 90 minutes set?
LE
-
Not from Philly, but from Cork:
http://www.youtube.com/watch?v=YhB01BQOfUU&feature=related
-
Not from Philly, but from Cork:
http://www.youtube.com/watch?v=YhB01BQOfUU&feature=related
I have no idea what song this is and cannot understand one single word he burps out. Mannheim and Berlin are going to be fun.
-
Not from Philly, but from Cork:
http://www.youtube.com/watch?v=YhB01BQOfUU&feature=related
I have no idea what song this is and cannot understand one single word he burps out. Mannheim and Berlin are going to be fun.
"Simple Twist of Fate"
-
I find it interesting that even the audience needed until the refrain to recognize the song. I had no problems recognizing it, maybe because I especially like these lyrics. Everything from "Blood On The Tracks" is great!
LE
-
I gave another chance to the "new" version of Blind Willie McTell. Well, its nice to chance things from time to time and although the band is great, the songs is totally ruined by the squawking of Dylan
-
I gave another chance to the "new" version of Blind Willie McTell. Well, its nice to chance things from time to time and although the band is great, the songs is totally ruined by the squawking of Dylan
-
interesting Goldenheart. to me the line is when I stop liking it. Art is very subjective, what one finds crap is somebody else's art.
-
interesting Goldenheart. to me the line is when I stop liking it. Art is very subjective, what one finds crap is somebody else's art.
I agree.
So, as someone who likes Dylan, would you accept the deterioration of his performance quality because you find it interesting no matter what he does, or would you say there is a point where your tolerance would stop? What about the "But he is a legend" factor?
If someone asked me if I would stop listening to MK in case his performance quality got worse, I'm not sure how to answer.
-
With MK it's different because even if his singing gets crappy, which I don't think it ever gets that bad as Dylan's, he still has the guitar singing for him. It's worth noting that Mark's singing improved over last decades, not sure about playing though.
Speaking of Dylan, sorry, but if he makes songs unrecognizable and barks like a dog where he could at least try singing, it is IMO a fail no matter how big a legend he is.
-
So, as someone who likes Dylan, would you accept the deterioration of his performance quality because you find it interesting no matter what he does, or would you say there is a point where your tolerance would stop? What about the "But he is a legend" factor?
If someone asked me if I would stop listening to MK in case his performance quality got worse, I'm not sure how to answer.
I quite like him but, I can't say I'm a fan like I am a MK fan. To be honest I don't even know his latest work.
The "but he's a legend factor" works for me as a reason to go and see him live once (which I did, and I didn't like it) and give him a second chance (which I will, because I'm sure I won't make the trip for nothing). Now, you say you would stop listening to MK if the quality got worse, well, for some people, it has got worse (too slow, not enough solos, too much flute, etc), and these people might question why you still listen to him. I think the same goes for Dylan. Some people think the quality has got worse (his voice), some can live with it.
-
Ever since I've been interested in Dylan (and that's a long, long time), people have commented that they can't understand the words or that he can't sing - or both - but especially that he can't sing. It comes with the territory now. I know there are singers who are pitch perfect, who hit every note spot on and enunciate the words clearly but that's not necessarily what I look for. They have to be able to put over the song, to transcend what I might call the mechanics of performance. Opera buffs will tell you that, in the purest of senses, Maria Callas was not that good a singer but she invested the character she was portraying with believability, projected the emotion the song demanded and she commanded the stage and that venue for the time you were there. I'm not opera buff at all, so can't judge, but that's what I've heard tell.
At the same time, I have attended Dylan shows that I have thoroughly enjoyed (both its low points and its high points) but, when I've heard a recording afterwards, I find it hard to accept that I could have enjoyed any of it, that I could have enjoyed being there so much. There is both an objective level and a subjective level to this.
And, over the years, I have been fortunate to attend some Dylan performances acknowledged to be among his best in the last 20 years. I can point to performances, both live and in the studio, that really took my breath away but ....
.... putting all that aside, there is no doubt that, in recent years, Dylan's voice has suffered significantly. People who have attended recent shows say that, on the whole, it's been a turn for the better. I don't know and I'll wait until I attend the Bournemouth show before I pass judgement.
As for MK, I've responded well to the recent concerts - with both slower and up tempo numbers, briefer solos, the addition of the fiddles, the citterns and the uilleann pipes and the generally more relaxed feel to the concerts. I wish MK would mix things up a bit more, that the performances were a bit less predictable and that he wouldn't use the same comments and jokes night after night - in short, a bit more spontaneity wouldn't go amiss. And I would like to hear even more radical rearrangements of some of the songs and I am referring to some of the old war horses in this respect. Sometimes, it seems that MK feels he must give his audience things in the show akin to the old DS style or, perhaps he thinks, he'll lose his audience base. Yes, MK has moved on from his past and I respect that but he could try to find something different and something more within his old songs and try to bring those elements out. If he is half the performer I know him to be, he will take his audience along with him, with little difficulty, and he will respond well to the challenges this approach presents. Leave the DS stuff to The Straits and move on.
MK fans will be familiar with his contribution to Dylan's SLOW TRAIN COMING album. So often in the music press and in the media generally, we hear about the huge change that Dylan wrought with his "electric" performance at the Newport Folk Festival in 1965. Less often mentioned are Dylan's concerts in the year or so after the release of SLOW TRAIN COMING. He played concerts without a single song from his past, none of his well-known songs, not a single one. He only performed songs from SLOW TRAIN COMING and from the forthcoming SAVED album. He did so despite a sometimes hostile reaction from some in the audience, despite the poor reviews and despite some people apparently walking out of his shows (probably a bit overplayed in the press). Sometimes, a performer like Dylan (and like Knopfler) simply has to step out a little and, as the now all-too-familiar phrase goes, move out of their comfort zone. Is Knopfler really challenging himself now?
A FINAL NOTE: When Dylan played in London in 1978 (before SLOW TRAIN COMING), he had a new arrangement of "Blowin' In The Wind" of which I wrote that it was clearly a heavenly wind blowing now. I am not pretending that I could predict the way he was moving but it wasn't a complete surprise.
-
I like your post a lot, even I still find hard to accept that anyone consider that what BD does is singing.
-
I fully accept that, nowadays, Dylan's vocal range is limited and his enunciation is gruff. I can understand why some (many?) in his audience may go away disappointed, maybe even angry but, as I said before, there is an objective level to this and a subjective level.
I also accept that Dylan's performance is variable from show to show and, indeed, from song to song within a show. You will not get the sort of consistency that you experience with an MK show. Some in the audience may find that hard to take, too, but most Dylan fans go to shows knowing that in advance. Indeed, many Dylan fans go night after to night and travel vast distances to catch as many shows as possible, partly because there is variation in the set list and partly because they want to be there when, in their eyes and ears, he delivers.
As I think I said before, Dylan is not always an easy listening experience. You have to work at it and, in my view, it's harder now than it used to be.
Moving on, someone mentioned Dylan The Legend. Yes, there is an element of this. It is my personal view that, in 100 years time, say, people will still be listening to and analysing Dylan and his works. Those who attend his shows (even the more recent shows) will be telling their children and grandchildren (and the way the actuarial tables are going, perhaps even their great grandchildren) that they saw Bob Dylan once - and maybe saw him more than once! It is almost too glib to say that he changed popular music forever, that he showed that one can bring a wider range of words, thoughts, ideas, emotions to popular music and so on and so on. That's music journalism stuff and, in my opinion, the music critics so often review his new album in the light of its predecessor as much as on its own merits. And, it's all essentially opinion but there are some objective indicators, such as winning an Oscar and being invited to play before the (last) Pope. He may not sell albums in the huge quantities that others do but his albums can sell enough to get him pretty well up the charts even in the last few years. He can turn out albums of out-takes, alternate takes and the like (in The Bootleg Series releases) that other recording artists would love to have had as their frontline releases. While there is some dispute as to the actual number (depending on the criteria you use), he has approaching 50 albums to his own name. His body of work is simply prodigious.
Call him legendary if you wish. He's done as much as anyone performing today to deserve such an accolade. To some degree, he seems to treat it as irrelevant anyway, even a joke. I don't know if he has continued the practice at this year's shows but, for some years, he has had his tour manager open the show by reading out a summary of his life, taken from a newspaper review. You might find it funny and, I guess, a rather un-showbizzy way to announce a performer.
-
I feel that there is an analogy with Dylan and the story of "The King's New Clothes"! Nobody has the nerve to stand up and actually say he can't sing, they just continue saying how amazing he is, until one day an unsuspecting child attends the show and says in a very loud voice "Daddy, why can't that man sing?" ;D That day may come!
That being said, I do love his songs and I am going to the concert to enjoy myself and to see what the fuss is all about! :)
-
Yes, there may be an element of the King's New Clothes but there is a difference. The existence or otherwise of the King's clothes was a matter of objective fact. The ability to put over a song is not to be measured objectively - certainly not when attending a concert.
I have been to Dylan shows that have been well received but, for reasons to do with my position and the actions of audience members around me, I simply did not enjoy. I have been to other shows where I have been seated way at the back in a flat area and in a huge venue, but have had my socks knocked off.
If you say that, as far as you are concerned, Dylan can't sing, then who am I to deny that's the way you hear him? All I am suggesting in these posts is that listening to Dylan is a very different experience from listening to Knopfler. Myself, I can listen to both. And, if Dylan doesn't do it for me on the night, I shall say so.
-
Even though I don't think he can sing, not well anyway, that doesn't mean I don't enjoy some of the clips I have seen of the tour. I find myself, after a few listenings, quite enjoying the new arrangement of Blind Willie McTell, although I would really love to hear it played, as originally, with MK, when I hear it in concert. It is the banjo, though, rather than Bob's voice that I find enjoyable. I also enjoyed A Simple Twist of Fate, including Bob's guitar.
-
http://bangordailynews.com/2011/08/20/living/music-concerts-live-bands/dylan-thrills-capacity-crowd-on-bangor-waterfront/
-
http://bangordailynews.com/2011/08/20/living/music-concerts-live-bands/dylan-thrills-capacity-crowd-on-bangor-waterfront/
Many thanks twm! It was certainly a very good review and I'm looking forward to the opportunity of giving my own thoughts on the concert in October. It was a pity that the reporter didn't say a word about Leon Russell, though. After all, he performed too! :-\
-
I've not heard good reports of Leon Russell but can't really say.
Getting back to an earlier posting and by wonderfully curious coincidence, I was looking through some Bob Dylan stuff from 1964 (don't ask why, it is pretty boring) and came across a report by Ralph Gleason (who was the jazz and popular music critic of the SAN FRANCISCO CHRONICLE and the man who, as I recall, inspired Jann Wenner to set up ROLLING STONE magazine in the first place). The article was entitled "Bob Dylan, Poet of the '60s" and concerned a recent Dylan concert in San Francisco, at which Joan Baez had guested. Gleason ended his article with the following:
Dylan, Baez and the new youth are saying 'the emperor has no clothes'. They are saying 'we want to live, not be killed and we want to be free'. Their morality is not new but a return to the basiscs ..., a rejection of sham and of pretense, and a determination to say what you mean, be what you are and to remain honest. More power to them. Friday night's affair was one of the most enjoyable evenings I have ever spent in a concert hall. At the very least, these young people, so young, so wise, so honest, are inspiring. At the most, they may represent the new beginning of sanity in this society.
It was the "emperor has no clothes" phrase that caught my eye.
-
Thanks for that, twm! ;)
-
I've not heard good reports of Leon Russell but can't really say.
Getting back to an earlier posting and by wonderfully curious coincidence, I was looking through some Bob Dylan stuff from 1964 (don't ask why, it is pretty boring) and came across a report by Ralph Gleason (who was the jazz and popular music critic of the SAN FRANCISCO CHRONICLE and the man who, as I recall, inspired Jann Wenner to set up ROLLING STONE magazine in the first place). The article was entitled "Bob Dylan, Poet of the '60s" and concerned a recent Dylan concert in San Francisco, at which Joan Baez had guested. Gleason ended his article with the following:
Dylan, Baez and the new youth are saying 'the emperor has no clothes'. They are saying 'we want to live, not be killed and we want to be free'. Their morality is not new but a return to the basiscs ..., a rejection of sham and of pretense, and a determination to say what you mean, be what you are and to remain honest. More power to them. Friday night's affair was one of the most enjoyable evenings I have ever spent in a concert hall. At the very least, these young people, so young, so wise, so honest, are inspiring. At the most, they may represent the new beginning of sanity in this society.
It was the "emperor has no clothes" phrase that caught my eye.
Ah, but Dylan was so much older then - he's younger than that now. ;)
Baez stuck to her guns though. :)
-
I presume you mean that Baez has stuck to her political view of the world. By late 1964, the period in question, Dylan had moved well beyond that stage in his life. Indeed, in the November 1964 issue of SING OUT! magazine, the editor wrote an "Open Letter to Bob Dylan", bemoaning his move away from songs of social comment.
Only last night, by chance, I spoke to somebody who interviewed Dylan in early December 1964 and, soon after, wrote a letter in support of what the editor had written. This interviewer then said to me that he had been very "straight" at the time but, within a year or so of the interview, had revised his view entirely. He told me that he had come to realise that Dylan was far ahead of most of his audience at the time and, to paraphrase his words, that Dylan was the coolest cat on the planet. This guy, incidentally, is an absolute music buff, having well over 10,000 albums, CDs, DVDs and the like, as well as a complete run of ROLLING STONE and other music magazines. I say this only to emphasise that he isn't your average interviewer.
Ralph Gleason had a splendid track record as a music critic and commentator and much of what he wrote then still applies - not about being young of course (and, as Dylan himself said, times were changing and people would need to change) but certainly about being true to yourself.
-
My one and only experience with Bob Dylan was because of the legend factor. I own many of his cds, and I love them, but I went home quite unhappy because I only noticed that I witnessed some of my favourite songs the next day when reading the newspapers, and in many of them, I was about to call emergencies number because that man at the stage looked like suffering terrible pain when singing...
And thats the reason why I didnt attend any of the 3 or 4 next shows that BD played at my town, one of them with very very cheap prices. My first time with him was more than enough, and honestly, I
-
This is the thing with BD : the gate between his recorded work and his live gig if far greater than the casual artist.
The fan loves it but a number of Mme Michu concert goer being there because Bob is a legend and had delivered great records may be left with expectation about what and how he actualy performed. Add the fact that the man can be in a "good" or "bad" night.
And this is something that I personally never witnessed with Mark after over 50 gigs attended : there have been some show better than others (the third night of the 2002 residency @ Shepherd's Bush for example) but even the average nights were still on some level contrary to some other artists that I can tell that I saw them one night litterally "on fire" (David Gilmour and Rick Wright at the great Vienne Antic Roman Theatre or the 1999 Rolling Stones saturday night's gig at Wembley Stadium).
-
I presume you mean that Baez has stuck to her political view of the world.
Absolutely. It wasn't meant as a critiscm of Bob at all, just something that struck me when reading that quote. Personally I love the way Bob's career unfolded, would have been quite boring if he'd stuck with all the sanctimonious political stuff for 50 years. And of course then we wouldn't have even had My Back Pages, which is one of my faves (especially The Byrds version).
-
From Washington Post review of recent Dylan concert: "The 70-year-old
legend's once-iconic snarl has been ravaged and reduced to something
resembling a cranky carnival barker on a good night, a Muppet with a
serious respiratory infection on a bad night."
:)
-
From Washington Post review of recent Dylan concert: "The 70-year-old
legend's once-iconic snarl has been ravaged and reduced to something
resembling a cranky carnival barker on a good night, a Muppet with a
serious respiratory infection on a bad night."
:)
:o :o :o :o :o :o :o
;D
-
I make no bones about the effect of time and touring on Dylan's voice (and probably the cumulative effect of smoking, drinking etc).
I dare say that a carnival barker would be flattered by the comparison drawn, though quite why it was necessary to add "cranky" to the description is a bit beyond me. As for "Muppet", was that humour? If I were to draw a similar comparison (and I have used this one in conversation myself), it is that Dylan has been known to move more like a Thunderbirds' puppet - with small, slighty jerky movements and an "almost-floating" effect. Maybe, it's the result of doing a bit of sparring in boxing gyms, along the way. [Oh, yes, he does].
Anyway, here's an over-the-top review, with the opposite perspective from The Washington Post:-
http://seamusoriley.blogspot.com/2011/08/bob-dylan-in-bangor-by-heather-hyatt.html
Moving on to the question of consistency, I agree absolutely and think I said that earlier. Dylan's performances are not of a consistent standard, either between shows or between songs in the same show. Some would describe this as quirky or something similar. And, yes, Knopfler is nothing else if not consistent. He and his band are generally so rehearsed that they come across as a well-oiled machine. That is not intended as a criticism, as it is a very professional approach to performing, though I would prefer, as I said before, a bit more spontaneity and variation. Then, I came into popular music through blues and jazz, both of which (especially jazz) absolutely thrive on the music of the moment, rather than what was worked out in the rehearsal studio some months before.
Going back to Dylan's voice, I came across MK's 1984 interview in, I think, GUITAR PLAYER (I think I said that I am going through some old papers at present). MK's comments on Dylan's musical ability and his singing may be worth your reading (or re-reading). The short version is that whatever Dylan lacks in technical ability is more than compensated by his soulfullness - that's a paraphrase but close enough, I believe.
-
I would prefer, as I said before, a bit more spontaneity and variation.
twm, I think you nailed it here and I am sure that the greater part of forum members around at AMIT would second that when it comes to MK.
There is, however, some sort of "killer phrase" that often comes across, saying that we can be happy that he is still doing something AT ALL because he doesn't need to for any artistical nor financial reasons, so if someone says that to me I better stop argue because it is hopeless. With Bob, we have another nice example of someone who does things because he WANTS to.
LE
-
As you say, neither Dylan nor Knofler has to tour for financial reasons (and, these days, there's more money in touring than selling albums). Knopfler usually tours in support of his latest album but I'm sure he doesn't do it just for the ticket sales or the album sales touring generates. It is more likely that, having produced some new songs, he is understandably anxious to get them better known and more widely appreciated. In that sense, I suppose one could say that his tours are for artistic reasons. But, yes, he does it because he WANTS to and, presumably, to keep that connection with his audience and his fans.
As you say, Dylan does it because he wants to, as well but with a difference. Dylan just tours and tours and tours. There doesn't have to be a specific reason. He does introduce new songs on stage once an album has been released (the delay is more because he doesn't want his new songs to be bootlegged in advance) but a more sporadic way.
In the very first year of his recording career, he said that he hoped to be like the old bluesmen of his day, performing publicly into his dotage. Another factor here is that Dylan has never had what I might term a "real" job. Apart from a couple of very short-term temporary jobs when young, he has only ever been a recording and performing artist. It's all he has ever done.
In the sleeve notes of his first album, he said he just wanted to keep singing and writing songs and on his second album, I think, he said that he didn't carry himself the way some of the old bluesmen did but hoped to do that some day. And that is what he has done. I mean, it can't be too bad to have written "Make You Feel My Love and to have had it taken into the charts by others as you're approaching 70.
-
Probably not the right thread but here's an analysis (not mine) of what Dylan has sung during the U.S. tour that has just finished:-
Dylan has performed in 28 shows on the recent US tour. He
-
What worry us the most is if MK and Bob will play together some songs...
We dont like the idea of two separate concerts, looks like a nosense dont play together when both played together in two records,and also performed live in 1986 together.
-
Oh, and he now has a goatee beard!
now THAT'S some interesting info!
I wonder if the female fans of BD are as crazy at us and find him as sexy as we find MK? Do you have "drool" threads on BD forums?
-
What worry us the most is if MK and Bob will play together some songs...
We dont like the idea of two separate concerts, looks like a nosense dont play together when both played together in two records,and also performed live in 1986 together.
I know what you mean, but "we" reminds me of Gollum... ;D (Precious...) I for my part do not expect anything but two separate sets. Anything else would be a great "Encore" and bonus. I think it is better not to expect them both playing together on stage on a regular base during the tour.
Therefor I think Bob is too... uncommitted. :)
It would be a pity of course to read about a duet in Glasgow f.e. and then go to Oberhausen and not having anything at all...
LE
-
I am not signed up for any public Dylan fora. As it happens, I was away from home recently and away from the usual distractions and did while away a little time looking at one or two of them. Mostly, I found them a mixture of, on the one hand, the inane and mundane and, on the other hand, the interesting and the useful. To answer your question specifically, there are people there who, in my opinion, do "drool" - to use your word. I added that little snippet to my post by way of something light-hearted.
As for whether they will play together, I don't know. I can't really imagine Dylan joining Knopfler's set but it is indeed possible that Knopfler may be invited to join Dylan's set, especially the encore songs. I seem to recall, on one of the documentaries on MK, that he said that Dylan started it all for him and MK is certainly capable. Indeed, if Charlie Sexton is still in Dylan's band on the coming tour and, if Dylan gives him the opportunityfor once (not always the case in recent times), we might even get two guitarists, different in style, ripping the place apart. If Dylan's encores are All Along The Watchtower and Like A Rolling Stone, then Mark may even get the chance to sing, too. But Dylan does unexpected things. As just one example, at a concert in Italy many years ago on a tour with Santana, I seem recall reading that Dylan took off his own bass player for the encores (six songs long ???) and bringing on Santana's bass player. Dylan's bass player went off stage quietly but apparently was absolutely fuming backstage. By the way, Santana certainly came out to join Dylan on stage at the end of concerts on that tour.
-
Thanks for the various "welcomes"; it is appreciated.
My point on stage-rushing was that, whereas MK fans tend to wait until a particular point is the show before dashing to the front, Dylan fans seek to make the move from the very start of DYlan's performance (and often succeed).
For many of the shows on the coming tour, the GA-standing arrangements will render my comments invalid anyway but, for the seated venues, it will be interesting to see what happens.
I do not wish to foster discord here but please bear with me. By and large, I have preferred the NHB and MK (solo) concerts to the DS concerts that I have attended. Why, I wondered. My conclusion is that I don't much go for what I might call stadium rock. It isn't just Mark for me. I have attended and enjoyed a solo Springsteen concert and one of his Seeger Sessions dates but have never felt impelled to go to one of his "standard" shows. Similarly, I attended several early Pink Floyd shows in the late-1960s (at a college dance, at The Roundouse and "Games For May" at the Queen Elizabeth Hall) but just lost interest in their music thereafter. I suspect that I'm not the only Bob Dylan fan so minded. On the other hand, many Mark Knopfler fans seem to get more animated during the DS material. Certainly, at the MK solo concerts that I have attended, it is the DS material that gets the most immediate crowd response and, at The Straits concert at the Royal Albert Hall earlier this year, audience reaction clearly showed the attraction of the "old-style" DS performance. I should add that I am not entirely against songs from the DS era. For example, I first heard R&J on a folk music radio programme (!), was much struck by it and have rarely not enjoyed it in concert. On the other hand, that long "Calling Elvis" intro to those early 1990s DS shows used to cause me a touch of dread - I couldn't wait for it to finish. And I found the shorter "Speedway" on the last MK tour much more focussed than the longer version on the tour before last. But that's just me. I can't speak for other Dylan fans.
hi twm, also a warm welcome from my side.
nice to see you here, after seeing you during those RAH shows last year :-)
-
I fully accept that, nowadays, Dylan's vocal range is limited and his enunciation is gruff. I can understand why some (many?) in his audience may go away disappointed, maybe even angry but, as I said before, there is an objective level to this and a subjective level.
I also accept that Dylan's performance is variable from show to show and, indeed, from song to song within a show. You will not get the sort of consistency that you experience with an MK show. Some in the audience may find that hard to take, too, but most Dylan fans go to shows knowing that in advance. Indeed, many Dylan fans go night after to night and travel vast distances to catch as many shows as possible, partly because there is variation in the set list and partly because they want to be there when, in their eyes and ears, he delivers.
As I think I said before, Dylan is not always an easy listening experience. You have to work at it and, in my view, it's harder now than it used to be.
Moving on, someone mentioned Dylan The Legend. Yes, there is an element of this. It is my personal view that, in 100 years time, say, people will still be listening to and analysing Dylan and his works. Those who attend his shows (even the more recent shows) will be telling their children and grandchildren (and the way the actuarial tables are going, perhaps even their great grandchildren) that they saw Bob Dylan once - and maybe saw him more than once! It is almost too glib to say that he changed popular music forever, that he showed that one can bring a wider range of words, thoughts, ideas, emotions to popular music and so on and so on. That's music journalism stuff and, in my opinion, the music critics so often review his new album in the light of its predecessor as much as on its own merits. And, it's all essentially opinion but there are some objective indicators, such as winning an Oscar and being invited to play before the (last) Pope. He may not sell albums in the huge quantities that others do but his albums can sell enough to get him pretty well up the charts even in the last few years. He can turn out albums of out-takes, alternate takes and the like (in The Bootleg Series releases) that other recording artists would love to have had as their frontline releases. While there is some dispute as to the actual number (depending on the criteria you use), he has approaching 50 albums to his own name. His body of work is simply prodigious.
Call him legendary if you wish. He's done as much as anyone performing today to deserve such an accolade. To some degree, he seems to treat it as irrelevant anyway, even a joke. I don't know if he has continued the practice at this year's shows but, for some years, he has had his tour manager open the show by reading out a summary of his life, taken from a newspaper review. You might find it funny and, I guess, a rather un-showbizzy way to announce a performer.
based on the last few recordings i heard, yes that is still being done. why stop?
-
I am not signed up for any public Dylan fora. As it happens, I was away from home recently and away from the usual distractions and did while away a little time looking at one or two of them. Mostly, I found them a mixture of, on the one hand, the inane and mundane and, on the other hand, the interesting and the useful. To answer your question specifically, there are people there who, in my opinion, do "drool" - to use your word. I added that little snippet to my post by way of something light-hearted.
As for whether they will play together, I don't know. I can't really imagine Dylan joining Knopfler's set but it is indeed possible that Knopfler may be invited to join Dylan's set, especially the encore songs. I seem to recall, on one of the documentaries on MK, that he said that Dylan started it all for him and MK is certainly capable. Indeed, if Charlie Sexton is still in Dylan's band on the coming tour and, if Dylan gives him the opportunityfor once (not always the case in recent times), we might even get two guitarists, different in style, ripping the place apart. If Dylan's encores are All Along The Watchtower and Like A Rolling Stone, then Mark may even get the chance to sing, too. But Dylan does unexpected things. As just one example, at a concert in Italy many years ago on a tour with Santana, I seem recall reading that Dylan took off his own bass player for the encores (six songs long ???) and bringing on Santana's bass player. Dylan's bass player went off stage quietly but apparently was absolutely fuming backstage. By the way, Santana certainly came out to join Dylan on stage at the end of concerts on that tour.
back in '84 right? santana was crap on that tour, Mick Taylor was way better.
but interesting story.
-
I wonder why "a legend" like Bob Dylan needs stars like Santana, Van Morrison, Leon Russell or Mark Knopfler opening his shows... I don
-
You could, of course, reverse the question and ask why, as musicians, performers of the stature of Santana, Van Morrison and Leon Russel would wish to join Dylan on tour. And now Mark Knopfler.
As it happens, Dylan did share the stage with Santana and Van Morrison at times but not, as far as I can gather, with Leon Russell. Dylan has shared the stage with many of those who have shared the bill with him - Paul Simon and Patti Smith to name but two. He has also guested at the others' shows and had guest performers at his own shows. It really isn't something that is predictable.
I can also recall relatively little known musicians joing Dylan on stage, even British ones. I'm thinking of Bobby Valentino (in 1987, I think) and this was several years before Bobby Valentino guested on a Notting Hillbillies' show at Ronnie Scott's club.
-
To set my mind at rest, I checked. Bobby Valentino played violin on "Lenny Bruce" at Dylan's 14 Oct 87 concert in London and very good he was, as I recall. Ronnie Wood and George Harrison guested at other shows that week.
And if your recording of the NHBs at Ronnie Scott's has a voice exclaiming "It's Bobby Valentino!", then that was me and I apologise. And, if that was a show I recorded myself, which I suspect it was, then I committed the cardinal sin of tapers - getting carried away with the music and the occasion. I am not an habitual offender in this regard (and no longer tape shows) but, quite a few years ago, in New York for a Dylan bash of some kind, I went down to the Bottom Line to catch John Stewart - great songwriter and no mean performer. When he asked for requests, I, in a booth at the rear, screamed out "California Bloodlines" which he kindly performed. It was agreat moment for me in a way but, of course, it ruined my recording but there it goes. Live for the spontaneous moment when it comes to live shows - which is what Dylan does.
That night, John Stewart was supporting Alison Krauss and Union Station. This was almost 20 years ago and the name was new to me. I had to ask someone a bit about them. Anyway, so taken was I with their performance that, in the interval, I bought a cassette of theirs - no CDs on sale - and calmly walked into the backstage area, knocked on the dressing room door and asked her to sign the cassette insert. I still have it in the rack downstairs.
-
You could, of course, reverse the question and ask why, as musicians, performers of the stature of Santana, Van Morrison and Leon Russel would wish to join Dylan on tour. And now Mark Knopfler.
Because Bob Dylan is a legend, and he was already a legend before they started their own careers? or in some cases, at the same time more or less?
-
Dylan doesn't "need" to bring in support acts. He has played many shows without any support. Equally, he has played many shows with support acts. Quite possibly, he just likes to ring the changes from time to time. To make things a bit different, perhaps, but certainly not out of "need".
I guess it might expand his potential audience a bit. Out of those who are really there to see the support act, a proportion (perhaps a small proportion) might end up buying his albums or going to more of his concerts.
It is believed that he sometimes asks promoters to put him in some cities and /or venues he hasn't played before. Again, it's a change for him. For example, he played a couple of summer tours around smaller, often old-style baseball stadia - with others on the bill - partly to help out these smaller clubs/venues and partly because it made for family outings (that is, with more than one generation of a family present) but also because it was somewhere new, with a different audience. The others on the bill were intended, in my opinion, to attract a wider spectrum of people.
For the coming tour (and assuming that Dylan's people approached Knopfler's people and not the other way round), the question is: why invite Knopfler? As opposed to someone, for example, a bit cheaper?
Someone put the theory to me that it was Knopfler, concerned about the upcoming mini-tour by The Straits, made himself available for touring and that Dylan's long-mooted tour just happened to be the one that he latched on to. Sounds a bit far-fetched to me but, then, you never know with these superstarry people.
-
I've been reading the ER forum a bit lately and even the staunchest of Dylan fans concede that without MK on the bill, Dylan would not be able to fill the huge European venues that MK is able to fill on his own, so it seems that Dylan definitely "needs" MK for this tour.
I wouldn't have thought that MK would have gone to so much trouble (postponing his album, etc) to tour with BD because he was so concerned about The Straits! The Straits are not important and I agree, it is far-fetched!
The reason I think he's postponing his album is because there is unlikely to be a tour in 2012. Why? It is Olympics year and although it doesn't coincide with Mark's usual week in London, The Queen's Diamond Jubilee most definitely does and there will be lot's of celebrations and probably things happening at the RAH during the first week of June, which is MK's usual slot. Not to mention booked-up hotels! People don't have so much money to spend these days either, when everything happens together!
I think MK saw Bob's tour as something he could easily fit in, to enjoy touring with his hero and then release the album in 2012 with the tour following in 2013, when Olympics, etc are over!
-
( )
The reason I think he's postponing his album is because there is unlikely to be a tour in 2012. Why? It is Olympics year and although it doesn't coincide with Mark's usual week in London, The Queen's Diamond Jubilee most definitely does and there will be lot's of celebrations and probably things happening at the RAH during the first week of June, which is MK's usual slot. Not to mention booked-up hotels! People don't have so much money to spend these days either, when everything happens together!
MK
-
The Get Lucky tour ended on 4th June, so did STP. The Queen's Jubilee will be the first week of June also! If it happens, Spring 2012 will be perfect for me! Just like Golden Heart! ;D
-
Well, I hope for a 2012 tour. Olympic games will start July 27th and end Aug 12th, so Mark will be at Portugal/Spain at that time. Mark's London stint is usually end of May, early June as we all know of course. Queen's Jubilee weekend (I like that term) is 2nd -5th june. So a little schedule work and Mark
still could do it. I for my part would love to go to London to see Mark AND the Queen! :lol
Mark also could release the soundtrack first in early 2012 and then take the usual schedule and release GEORDIELAND (I decided that to be the album title)
Sept/Oct. with tour pre-sale starting for the then 2013 March to August-tour - business as usual... I am not sure if I want to wait for the new album soooo long... ::)
LE
-
I can't answer for views expressed on the ER forum. It is not something to which I pay that much attention and, as I said before, when I visited it recently, I was not exactly impressed with the "quality" of the comments that I read.
When someone tours as much as Dylan does, you can expect the "law of diminishing returns" to apply in terms of ticket sales. For example, I know many long-term fans who might have attended, say, all the UK shows previously but won't do so this year and haven't done so for quite a few years. In contrast, MK tours much less frequently, so these phenomena apply to a much lesser extent. It still doesn't mean that Dylan "needs" MK.
Given your comment, it is still telling that it is a Bob Dylan tour, with MK in support. Amongst the comments I've heard from Dylan fans is that the inclusion of MK on the bill has driven the ticket prices up.
Please understand that my comments were not intended as any kind of criticism of (or attack on) MK. Having probably attended more MK (and MK-related) shows than the average Dylan fan, I shall be pleased to see and hear both on the same stage. Apart from anything else, this touring arrangement will probably save me money in terms of ticket, travel and hotel costs (compared with two separate tours that is.
On the other hand and with regard to the ability or otherwise to fill large venues, then perhaps a double-header bill is not my preference. I'd rather catch Dylan in a small venue than a large barn or a hangar - but I'm not given that choice.
Incidentally, just as I know of MK fans who have never seen (and would not ordinarily see) Dylan on stage, I know of MK fans who do go to concerts on Dylan tours. The former do outnumber the latter, in my experience, but there are folk with wide-ranging musical tastes on both sides of this seeming BD/MK divide. For that, I am thankful.
-
Given your comment, it is still telling that it is a Bob Dylan tour, with MK in support. Amongst the comments I've heard from Dylan fans is that the inclusion of MK on the bill has driven the ticket prices up.
Yes, I have heard that comment on this and other MK forums too, as well as the ER forum, but as I have "only" paid
-
We would like to see MK in small theaters as well, but as long as he could fill arenas, bullrings or big theatres like the RAH, that won
-
The first time I saw Dylan, I bought 80 tickets at a price of 7/6d each in old UK money, so each ticket was around 37 pence in today's terms but, of course, incomes were much lower then. I bought 80 tickets because I co-ordinated the purchase for people at the college I attended at the time. And that was in the RAH but one of the cheaper blocks.
-
The first time I saw Dylan, I bought 80 tickets at a price of 7/6d each in old UK money, so each ticket was around 37 pence in today's terms but, of course, incomes were much lower then. I bought 80 tickets because I co-ordinated the purchase for people at the college I attended at the time. And that was in the RAH but one of the cheaper blocks.
That was a very long time ago! Decimal currency has been around for 40 years! At that time I was earning
-
The first time I saw Dylan, I bought 80 tickets .
I thought you had done an Isaac ;D
-
Forgive my ignorance but what is "an Isaac"?
-
Forgive my ignorance but what is "an Isaac"?
Take a look at this http://gl.isaac.shabtay.com/ (http://gl.isaac.shabtay.com/)
-
Thanks. I did hear mention of this guy but never knew his name.
-
The first time I saw Dylan, I bought 80 tickets at a price of 7/6d each in old UK money, so each ticket was around 37 pence in today's terms but, of course, incomes were much lower then. I bought 80 tickets because I co-ordinated the purchase for people at the college I attended at the time. And that was in the RAH but one of the cheaper blocks.
That was a very long time ago! Decimal currency has been around for 40 years! At that time I was earning
-
The first time I saw Dylan, I bought 80 tickets at a price of 7/6d each in old UK money, so each ticket was around 37 pence in today's terms but, of course, incomes were much lower then. I bought 80 tickets because I co-ordinated the purchase for people at the college I attended at the time. And that was in the RAH but one of the cheaper blocks.
That was a very long time ago! Decimal currency has been around for 40 years! At that time I was earning
-
No, not 1966, but 1965 - Dylan's second last solo concert. The next night was his last solo concert (other than a BBC TV recording on 1 June, which I saw when it was broadcast later in June) but I went to see The Animals in a small North London club that night. Those were the days.
-
No, not 1966, but 1965 - Dylan's second last solo concert. The next night was his last solo concert (other than a BBC TV recording on 1 June, which I saw when it was broadcast later in June) but I went to see The Animals in a small North London club that night. Those were the days.
thnx for all those little tidbits and stories, and also those interesting views/opinions of yours TWM, nice to have you onboard here :-)