Word: dylanã
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...less-than-domineering presence on the stage. The 5’5” mysterious man in a cowboy hat stood to the extreme left of the stage, crouching over his piano and harmonica allowing his four-piece band to take focus on the center of the stage. Dylan??s expressionless face and his band’s stoic cool while performing (except for one humorous break in countenance during “Don’t Think Twice, It’s Alright,”) gave the concert an understated intensity and cool intimacy...
...Harvard show was the last of Dylan??s college concert tour, which has extended from coast to coast since mid-October. The sweat that literally poured from Dylan??s face at every pound of the piano and the perfection of the multi-talented Larry Campbell (guitar, cittern and pedal steel), bassist Tony Garnier and lead guitarist Stu Kimbell demonstrated both a well-rehearsed tour and the musicians’ passion for absolute effort in their performance. The band and singer interacted so well on stage, with virtually no eye contact or communication with the audience...
...Allston show, those familiar with the extensive poetry of Dylan??s ballads were blessed with an occasion to actually understand (the majority of) the lyrical genius’s words. Dylan has done nearly 100 shows a year non-stop for the past 40 years, and it is a true miracle that his voice is even vaguely comprehensible. While “Desolation Row” can lose much of its epic power in performance, Dylan??s stirring political verses “Tweedle Dee and Tweedle Dum” and “It?...
...Sugar Baby” (a lesser known but fabulous song from Love and Theft) and the bluesy “Summer Days” (also of Love and Theft) were excellent closing songs for a set that was largely toned by the blues/rock orchestration of Dylan??s band. While it is enjoyable to hear Dylan sing older pieces like “Stuck Inside of Mobile with the Memphis Blues Again,” the extreme differentiation from the recorded versions can be jarring for some Dylanistas. The once-solo folk artist should emphasize his recent blues-influenced...
...selections from Love and Theft were undeniably the most forceful and most enthusiastic on Dylan??s part, but the final encore of “All Along the Watchtower” truly clinched an exceptional performance. In a song so popular and so-often played, there was not a hint of ennui in the delivery: it was a heart-stopping rendition of one of the greatest imaginative ballads of all time. Bob Dylan and his Band played the song, as they did most of their set, with the energy of a first-performance but the mastery of four...