Reviews Grand Prairie, Texas Nokia Theatre April 15, 2006 [Dan Lewbel], [Thomas Orange], [Chris Coker], [Ron Dempesmeier] Review by Dan Lewbel I have yet to see a concert at the Nokia theatre that can overcome the 6300+-seat venue's impersonal feel. It just seems more suited for a Broadway productions or Barney on Tour then a concert. Granted, it's better then a retrofitted arena setting, but the place has no vibe or soul. Dylan and his band were set up in a deep semi circle way far up stage with Bob almost perpendicular facing to the right of the crowd, which just made matters even worse. The intimacy created by the stage arrangement and lighting was between the musicians not the traditional entertainer to audience that most performers would strive for. The audience was relegated to feeling like we were peering in through a studio door left ajar. I was sitting in the front section and still felt far away. It didn't matter; it's Bob 'fuckin' Dylan. (For optimal viewing, if you are buying tix, try to get them where I sat, just a little to the right of center. Avoid the far left front or all you will see is Dylan's back.) Merle Haggard opened the show and it's hard to believe he is only four years older then Bob Dylan because he looked like he was about 140 years older. Of course Merle also looked about 140 pounds heavier then Bob, and it felt like he was 140 feet closer to the audience then Bob. He also occasionally took his cowboy hat off during the show while Bob's black hat stayed glued to his head. Hag has been recording almost as long as Dylan, but his style of performing is completely different. With his tough guy Cashesque, 'spent time in the joint' street cred and huge library of 'classic country' with a Bakersfield (his adopted hometown) sound edge, he had this Dallas audience in the palm of his hand by the second song. Merle and his band played to please performing outstanding versions of the reddest of neck anthems like 'Honky Tonk Mama' and 'I Think I'll Just Stay Here And Drink', drawing a standing ovation after almost every song. So what about Bob? Fact is we are talking about seeing a legend here. You would be hard pressed to find another 65 year old, 5'6”, Minnesotan Jew that can get an auditorium full of Texans on their feet over and over again (of course Kinky Friedman is running for governor, but that's another story). I personally still cannot get used to seeing Bob camp behind a keyboard all night looking about as comfortable as Susan Dey and leaning into the mike like Linda McCartney singing 'Cook Of The House'. But then again, it would not be Bob Dylan if he were playing to please an audience. Much as Miles Davis would play in his later years with one foot on the drum stand and his back to the house, fans for decades have put up with Dylan's quirkiness. You can get away with that when you are legend and a genius. Now if you want to hear me bitch and moan, I could complain that it would have been nice to have one friggin acoustic song or at least see him hold a guitar. But come on, the man's a god and it's not like I did not know what I was getting into when I bought a ticket. It's Bob 'fuckin' Dylan. Enough with the pretentious Grail Marcus reviewer whining. Fact is, lucky for us all of us there, Dylan was ON tonight (you know what that means). Bob not only showed occasional emotion, but also even enunciated during some of the older songs. Hard to believe anyone would bother not to slur through a song like 'Don't Think Twice It's Alright' after performing it on and off for 43 years, but it sounded great, as did most of the other classics. He did slip into 'mumbling nasal god' mode during 'Queen Jane Approximately' and stayed that way for a couple of the songs during the first half of the show. For the most part though, he was performing and not just going through the motions. You cannot really say Bob sang nor did he do the folkster-warbling thing from the early sixties. More like a preacher or a carnival barker, Bob recited and delivered and impassioned recitation laid over a Bakersfield drenched rock steady beat. As expected, most of the songs were reworked arrangements for this tour but nothing was too far from how you expected it to sound. There were no real 'ah ha' moments like when the audience catches on to the fact that they know what song it is about 2/3s of the way into it. There was enough song and style variety to keep the show moving with few lulls. What did consistently bring a roar from the packed house each time was when Bob blew the harmonica. It did not matter if it was the simplest toots or the many soulful extended song ending solos, the crowd 'loved da harp'. The audience sat during most songs except for the few stand and flail dancers that kept on their feet throughout the show, but everyone rose to their feet after most every song. The set list did not vary too much from what he has been playing for the past year or so and was almost a carbon copy of the last few nights of the tour if the set lists posted on this site are accurate. The band was tight and sounded well rehearsed most of the night with just a few exceptions: Tony Garnier screwed up on the bass several times during a couple of songs early on (my wife started counting how many times during one song) and Donnie Herron seemed to have issues with the pedal steel. Otherwise the band sounded great. No real stand out amazing solos, but efficient with enough looseness to keep it fun to watch. If you were not an avid Dylan fan singing along to every lyric, I think you still would have enjoyed the 'sound' of the show. The mix was amazingly clean and crisp. Whoever was working the soundboards should get a raise. I cannot tell you how many shows I have seen lately that sounded like muddy shit. I also could have done without the goofy psychedelic echo on Dylan's voice during the second verse of 'All Along The Watchtower'. Even though Dylan has tried to win this song back for decades, you still can't listen to it without thinking of Hendrix (how many people think of Otis Redding when you hear 'Respect'). But now I am getting nit picky so I should rap this up. Great show, great night, come on… its Bob 'fuckin' Dylan! Review by Thomas Orange Merle Haggard and the Strangers (opener): Unfortunately we got there a little late and missed the first three of four songs. As we found our seats, he was playing the old classic "Big City". Merle was wearing dark blue jeans, jean-jacket, copyboy hat, and a guitar strap with his first name prominently featured. The Strangers consisted of two guitarists, pedal steel, bass, drummer, keyboard, fiddle / guitarist, and saxophone / trumpet player. Merle played lead guitar as well as fiddle on some songs toward the end of the set. Merle still sings great, and played a mean lead guitar as well. His band was also excellent. They played old-school country, but had the chops to expand that sound with the horns (sax and trumpet). They also did a little Texas swing. In short, it was a great little set. His set included the following songs: " Big City " Mama Tried: This all time classic was great. " Honky-Tonkin' " If You've Got the Money (I've Got the Time) " San Antonio Rose: Merle played fiddle on this, and they did it "Bob Wills" style. " As Time Goes By: Interesting version. Bob Dylan and his band (headliner): " Bob Dylan: vocals, piano " Tony Garnier: bass " George Recile: drums " Donnie Herron: violin, pedal steel, lap steel, banjo " Stu Kimball: guitar (lead, acoustic) " Denny Freeman: guitar General comments: To me the sound didn't seem quite right for much of the set, though my perception might have been due to my seat location at the far right of the stage. However, during Merle' set the sound seemed fine. But Dylan's music was much more amplified and (indeed) coming from another universe in comparison. Dylan's band sounded muddy at times when they got a little loud. The sound just wasn't consistent to me. Bob was situated at the keyboards nearly centerstage. He was dressed in a jet-black suit and black cowboy had. His hair appeared grayish. Lead guitarist Stu Kimball was by himself to Dylan's right. The drum kit was on the right side of the stage, facing Bob. Tony stood stage right, by the side of George's drums most of the night. At one point toward the end of the set when the music got intense, Tony came centerstage doing some interplay with Donny. Bob's voice just isn't what it used to be. But what can you do about that? His keyboard playing has gotten a little better in the three years since he's been doing it onstage. His harmonica playing was great; that came across very well sound-wise. But as a band they did many amazing things with the songs. And that's the cool thing about going to a Dylan concert these days. These guys were incredibly focused on one another and Bob. They were creating musical art. Sometimes it didn't quite work, much of the time it did, and some of it was quite amazing. Whether the casual audience member appreciated this onstage artistic exploration is another thing. I thought it was pretty cool. Stu Kimball was pretty good. He wasn't incredibly flashy, but he did the job well as lead guitarist. Donnie Herron did some very nice soloing on his instruments. As usual, Tony and George laid a massive musical foundation. George did a great job. Denny Freeman played rhythm guitar much of the night, but did do a little soloing during the later part of the set. Set list and comments: 1. Maggie's Farm (Bob on keyboard, Donnie on pedal steel): This was okay, but not exceptional like the version I saw done in 2002 with Charlie Sexton and Larry Campbell. Bob's vocals sound a little muddy on this. 2. She Belongs To Me (Bob on keyboard, Donnie on pedal steel): This is nice. During this song, Donnie switched to lap steel because a string had broken on the pedal steel he'd started out on. Later in the set, he switched back to pedal steel once it'd been fixed. It didn't seem to affect his playing much. He did well on the lap steel. 3. Lonesome Day Blues (Bob on keyboard, Donnie on lap steel): Now this was more like it. The band did a nice grooving version of this. When the band played like this, they were excellent. 4. Queen Jane Approximately (Bob on keyboard and harp, Donnie on lap steel): This was okay, with Bob struggling to sing it at first. However, it musically evolved into something quite beautiful. 5. 'Til I Fell in Love With You (Bob on keyboard and harp, Donnie on lap steel): This was very cool, with the band doing some evil-sounding blues. Another great band performance. 6. It's Alright Ma (I'm Only Bleeding) - Bob on keyboard, Donnie on violin, Tony on standup bass): They quickly went into this one, which musically sounded so similar to the previous song at first I thought it was a continuation. This was a fast, rocking version of this classic song. Pretty cool. 7. Don't Think Twice Its Alright (Bob on keyboard and harp, Stu on acoustic guitar, Donnie on lap steel, Tony on standup bass): The arrangement on this was somewhat more faithful to the original, and the crowd really responded to this one. 8. Highway 61 Revisited (Bob on keyboard, Donnie on lap steel): This was great. The band did a suburb blues-rocking treatment of this classic, with Tony laying down a cool groove. 9. Every Grain of Sand (Bob on keyboard and harp, Donnie on pedal steel): This song's a favorite of mine, and they did a good job with it. 10. Cold Irons Bound (Bob on keyboard, Donnie on lap steel): I've heard some amazing live versions of this song, and tonight's was no exception. Very cool arrangement, with Stu doing a hypnotic lead guitar chord repetition. This was the convert high-point to me. Simply amazing. On songs like this, Dylan's vocals are perfect. 11. Boots of Spanish Leather (Bob on keyboard and harp, Donnie on violin, Stu on acoustic guitar, Tony on standup bass): Interesting version of this. 12. High Water (for Charlie Patton) - (Bob on keyboard, Donnie on banjo): This was a great slamming version of this song. The band left the stage after this, and came back about five minutes later. (Encore) 13. Like A Rolling Stone (Bob on keyboard, Donnie on pedal steel): This was okay. I'd seem him do these encore songs before. 14. All Along The Watchtower ((Bob on keyboard, Donnie on lap steel): We left during this to beat the crowd (there was a large crowd tonight at Nokia). I did hear from a local reviewer that he did some interesting things to this song (including "looped vocals and otherworldly organ"). Unfortunately (or fortunately) I didn't witness this. All in all, I was satisfied with the concert since I'd seen him before. Musically his bands are always interesting to watch, and tonight was no exception. Review by Chris Coker Last night was The Bob Dylan Show at Nokia Center in Grand Prairie, Texas. Needless to say, I was in attendance, a little over 30 rows back, slightly to the left of center stage. It was my third time to see Bob Dylan in concert, and it certainly lived up to and exceeded my expectations. The last two times I had seen Dylan were both outdoor concerts, so this was the most intimate setting I have had an opportunity to see him in. Dylan has always been a showman, and still is today. His band came out in all grey suits and fedoras, and he wore a black western suit with his trademark cowboy hat. Throughout the show different kinds of lighting were used on the band; bright white front lights mounted on the stage monitors of each member, an amber light that came from the front right of the stage giving a parchment feel during It's Alright Ma, and overhead spotlights in the shapes of multi-pointed stars over each member during Watchtower. The stage also morphed over the course of the show. At first it was just a blood red backdrop curtain, but after the third or fourth song it was pulled back in the old theatre style. After that it was lit to be a beautiful purple, and eventually there was a backdrop of blue "star" lights behind the band, framed by the heavy curtains. The set-list for the show was impeccable. Dylan and his Band opened their performance with Maggie's Farm. Also included in the set were impressive new versions of It's Alright Ma (I'm Only Bleeding) and Highway 61 Revisited. I don't think it should be overlooked that Dylan included It's Alright Ma... in his set, considering the current state of our nation, and the world; "They make everything from toy guns that spark to flesh-colored Christs that glow in the dark...It's not hard to tell that nothing much is really sacred..." or that he has been playing 61 in such a heavy and driving way in the past years. "Now the rovin' gambler he was very bored, tryin' to create the next world war...we'll just put some bleachers out in the sun and have it down on Highway 61." He also played High Water (For Charley Patton) and Cold Irons Bound, two of my favorite of his newest songs. If you haven't listened to his newest albums, Time Out of Mind and Love and Theft, they are definitely worth listening to, and just as strong as his acclaimed work from the 60s and 70s. Dylan's sound in roughly the past decade hits right at home for me. It seems to be the perfect mix of blues, twang, and good old rock and roll. His band hits it right on the mark. Although a lot of people criticize his voice, I think it bears more character, sincerity, and integrity than any singers I've heard of late, and it fits with his new vocal style perfectly. His voice is 60 years of cigarettes and touring, why would you want it to sound any other way? The beauty in Dylan's vocals has always been the way he can get more out of words than anyone else, the way he twists them, hits them, bends them, the way he performs them. Nobody plays Dylan like Dylan. -- See you there in '07. Chris C. Review by Ron Dempesmeier Merle Haggard Merle's Intro Theme / Today I Started Loving You Again / Honky Tonkin' / As Time Goes By / I Think I'll Just Stay Here And Drink / If I Could Only Fly / Mama Tried / I Had A Little Gal / New San Antonio Rose / Milk Cow Blues / If You've Got The Money (I've Got The Time) / Merle's Exit Theme * NOTE: This is a partial list and not necessarily in order, although the 1st and final 5 are definite. Bob Dylan Maggie's Farm / She Belongs To Me / Lonesome Day Blues / Queen Jane Approximately / 'Til I Fell In Love With You / It's Alright Ma (I'm Only Bleeding) / Don't Think Twice, It's Alright / Highway 61 Revisited / Every Grain Of Sand / Cold Irons Bound / Boots Of Spanish Leather / High Water (For Charley Patton) / Like A Rolling Stone / All Along The Watchtower Grand Prairie was graced by two performing legends last night: the current living King of Country Music, Merle Haggard, and the songwriting genius of Bob Dylan. Both of them are pushing or beyond retirement age, but their performances left one feeling that they could go on for another decade before calling it quits. Merle Haggard's ace band, The Strangers, kicked things off by doing 2 songs as a warm up. Guitarist Kenny Vernon sang and acted as musical director of the Hag's crew. They broke into an instrumental I'd call Haggard's theme and the man himself strolled out nonchalantly. Wearing an all black outfit with his trademark fedora and sunglasses, Haggard was treated to his first standing ovation of the evening, especially when he doffed his hat and glasses to the crowd. Haggard immediately opened with his classic tearjerker “Today I Started Loving You Again.” From the first note, Merle was proving that his voice was as sparklingly clear as it was in the 1970s. He had no problems making his voice break in that classic honky-tonk style. He also phrased his lyrics much like Willie Nelson: casually behind the beat making his songs sound a bit jazzy. The Haggard and the Strangers are celebrating 40 years of touring. Now, not all of the Strangers were originals, but steel guitarist Norm Hamlet, drummer Biff Adams and tenor saxophonist/trumpet player Don Markham either are or VERY close. The Strangers also featured Scott Joss on fiddle and electric mandolin, Doug Colosio on keyboards, Kevin Williams – bass, and the aforementioned Kenny Vernon and Joe Manuel on guitar. With Merle playing his own axe, the taunt Bakersfield sound was made evident with 3 guitars. Merle actually played most of the lead/solos of the evening proving he's still a great picker. His set included his classic “Mama Tried” and barroom standard “I Think I'll Just Stay Here And Drink.” There were several other songs that I believe were from his later albums. They were touching and tinged with nostalgia and regret that suited Haggard's whiskey wizened voice. One of the song's lyrics was “Tonight, I'm singing for all I'm worth” and the crowd heartily agreed. Merle also performed 3 Bob Wills & the Texas Playboy standards and brought out his own fiddle to recreate the Western Swing string band style. He also sang a couple of “Aah-Haaahs” in the vein of his hero. His final song of the evening was Left Frizzell's “If You've Got The Money (I've Got The Time).” He left me wanting just a bit more of a set so he could do some more of his own legendary songs (“Sing Me Away”, “Okie from Muskogee”, and “Footlights” just to name a few). Merle and the Strangers were given several standing ovations during their excellent opening set. After a 15-20 minute break, Bob Dylan's band came onstage and kicked off with “Maggie's Farm.” Bob was standing behind a keyboard that sounded a bit like a classic Hammond organ to me, but it was too modern looking to be that. Must've been a synthesizer of some sort. Dylan played the whole show pretty much behind his keyboard. He did take his harmonica out and played it with one hand which jamming down on the keys with the other. Okay, let's talk about the voice. It's pretty much shot. However, nobody performs Dylan's songs like him so it somehow seems to work (for the most part). I will admit that his voice is better suited for his later songs off of “Time Out of Mind” and “Love and Theft” albums, rather than “The Freewheelin' Bob Dylan” since he writes in a more conversational tone on them. So “Cold Irons Bound” and “High Water (For Charley Patton)” sounded almost the same as they do on CD, although in concert the energy level was much higher. I especially loved how pedal steel guitarist, Donnie Herron, played an especially electrifying banjo on the latter song. Dylan's band included Stu Kimball and Denny Freeman on guitar, Tony Garnier on bass, and monster drummer George Recile. Recile's thunderous playing got stronger as the evening went along. Stu Kimball played mainly rhythm until the encore, where he got to explore his Jimi Hendrix-inspired leads. Most of the evening, Denny Freeman was laying down pristine, steely leads like the good Texan he is. Herron also played lap steel and fiddle when needed – a true triple threat. Besides the newer songs, the other highlights of the evening included a very nice version of “Boots Of Spanish Leather”, “Don't Think Twice, It's All Right” and a interestingly re-arranged version of “Highway 61 Revisited”. Bob can spit out lyrics like a machine gun and you sometimes can't help but chuckle. When the Dylan and his band came back for the encore, they kicked it off with a very aggressive “Like A Rolling Stone” which had the most exciting drumming of the evening. Recile looked like Keith Moon plunking down fills all over the song. Hendrix definitely inspired Dylan's version of his own “All Along The Watchtower” and the band responded with an even louder and chaotic version. It was a fitting end to the evening. It's not very often you get to see two legends tour together like this, and I am so glad I had the opportunity to see it happen.