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Bob Dylan 2000.11.01 in Bloomington, Indiana

Indiana University, IU Auditorium
3740 capacity

Subject: Re: November 1, 2000 - Bloomington, Indiana - Setlist
From: kdwade1 
Date: Wed, 1 Nov 2000 23:42:46 -0500

I was there. Blue Bonnet Girl was great, it was one of those
kinda half-jazzy half-country tunes, along the vein of Lucky Old
Sun. Bob did it great. The real highlight of the evening was what
he said just before he introduced the band. Something like: "I'm
going to play a song now to pay tribute to an old friend. Mr.
Steve Allen. He died just last night and I appeared on his show a
long time ago. This is the song I played then. It's called Hattie
Carroll." He stepped away from the mic for a second and somebody
yelled "You already did it, Bob!" and he grinned, said "But
anyway, folks..." and introduced the band. I laughed my ass off.
The other major highlights for me were TTGTH, which was done
*beautifully*, and Cold Irons Bound. I don't think the CIB
arrangement was really new but I hadn't heard it before and it
rocked even harder than on the album. I loved Charlie's playing
on Country Pie. Everything else was top-notch, too, of course,
and Bob was in a great mood, smiling and moving around a lot. Oh,
BTW, my friend and I went out and found his bus before the
show--It was there a good hour before the show started. When they
went into the formation, we ran out, hoping to catch a glimpse of
Bob getting on the bus. For maybe three seconds I saw him,
approaching the bus. Basically it was just a flash of snazzy
white suit. I was too awed to yell. Great show, though. Any


Subject: Review- Bloomington November 1, 2000 (long!) From: Joe Cox Date: Thu, 2 Nov 2000 07:54:27 -0600 Bloomington, Indiana. It had been 367 days since my last Dylan show. About 366 too many! So I suppose my personal excitement at getting to see Dylan again may account for the glowing nature of this review - But on the other hand, I still listen to the occasional CD-R of the new shows, so I'm not totally out of my league as far as knowing what Bobās playing or how heās playing it. That all said, Bloomington was a treat- an absolute delight. The show made the 250 mile or so trip worth every minute. First, the venue is impeccable. IU is very fortunate to have such a top-rate facility - aesthetically pleasant, acoustically sound, tastefully decorated, it feels like the sort of place where "Les Miserables" won't be a bit out of place (Incidentally, they were advertising that one - although Colin Powell is the next featured "act". haha.) Quite an interesting trip up through the heartland - rural Indiana almost seems surreal, like it somehow just evolved out of one of Mellencamp's weaker songs. An auspicious backdrop for Bob Dylan - Duncan and Brady Ah, but he looked snazzy. A white suit last night, complete with a genuine necktie, not the little bowtie. A hideous pair of black shoes complemented the suit in the great Dylan style. The rest of the band looked fit as the proverbial fiddle, except that Charlie could perhaps use a haircut. Itād been so long since Iād seen Dylan that Iād never heard this one live - Of course, I was quite familiar with it, but itās the sort of song that always is much more impressive to me live than on the CD player. This rendition was no exception. The vocals were dead-on, the playing was lively, and Dylan was pulling out a trick I heard on a recent version of this one- stretching out the verse-ending "too looooooooooong" beyond Larry and Charlieās backing. Just one of those little nuances that makes us all remember just who it is up there bringinā it all back home. To Ramona I hadnāt heard this one since Bogartās last July - which is the show I'd compare this one to in terms of quality. Itās changed some since then - Larry's mandolin playing is featured much more prominently. Indeed, the mandolin got a decent bit of soloing on this night, which isnāt really something I remembered from Larry. Needless to say, heās just as good on mandolin as all the other instruments... This was a very solid rendition, with Bob getting right on the words. He seemed somewhat reserved early in the show- giving his best "Iām not impressed" raised-eyebrow expression to the crowd. A very welcome song to hear, and it makes me glad that "Tambourine Man" is getting shelved these days in favor of this one or "Song to Woody". It's Alright Ma (I'm Only Bleeding) At this point, the sound really clicked for the first time. Dylan was dead-on with this one, really seeming to feel the song and starting to smirk and bare his teeth at the crowd on crucial lines (Maybe itās a smile, but it depends on context for my guess - ). Larry provided the usual brilliant backing, ranging from fingerpicking runs to heavy power chords and Dylan found the groove with his guitar, noodling a nice little solo between two verses. This was a rocking rant of disgust from Dylan and it connected with authority. This was the first real clue that we were in for a fine show. The Lonesome Death of Hattie Carroll What a time to pull out a great call! I heard the opening chords - "My Back Pages"??? And then here came Bob - "William Zantzinger killed poor Hattie Carroll" and I was just awestruck. I always have loved "The Times, They Are A-Changinā" and this song is definitely the capstone of a fine album. If I were describing the performance in a word, it would probably be accurate. It seemed slightly reserved and thoughtful - which was no surprise in light of what we found out later in the show. Dylan sang this one pretty softly and altered the phrasing a bit on the chorus from what Iād previously heard. Just a lovely sounding song. There are certain times when I have to close my eyes - I canāt trust anything other than the raw sound, the power of my hero - and the chorus of this song is one of them. The time for my tears, Bob, will be when I canāt hear you performing songs like this anymore. Tangled Up in Blue I canāt begrudge it. Iāve heard this song at every show Iāve ever been to, and it somehow just doesnāt bother me. Maybe itās the melodic little hook that Larry plays for this one - maybe itās the way Dylan snaps the vocal off, maybe itās David Kemper drumming on the final run-through so hard that you feel the beat in your lungs. But while I never really want to hear this song - I can never be disappointed by it. The lyrics didnāt seem especially different- although Bob flubbed a pair of lines in the second verse very badly. No harp on this one either, although Dylan compensated with some nice noodling on the olā six-string. The last run-through of this is about as tough of a sound as acoustic music can provide. No "best I ever heard" hyperbole, but no complaints either! Searching For a Soldierās Grave I really was looking forward to this one. I really enjoy Larry and Charlieās backing vocals and this song showcases them so well. I donāt really understand Dylanās attraction to this one, but itās a pleasant enough song to hear. All of the old traditional songs fascinate me. As brilliant as Dylan is, itās such a great treat to hear him cover songs! I really didnāt get the sense that this song disrupted the rhythm - which is a danger when you stick a slow song between "Tangled" and "Country Pie". It makes me happy to hear Bob try to sing WITH Larry and Charlie, instead of against them, which is sometimes a problem. Another tight, if not spectacular performance. Country Pie Another song that despite itās being a standard for virtually ages now, Iād never heard in person. It sounds just as nice live as it does on all those CD-Rs. Bob enjoys it and Charlie plays the Hell out of that howling little mini-solo he takes at the end of the last two choruses. Definitely wakes up anybody who lulled off during "Searching - " Tryinā to Get to Heaven From the first doodlings before the song, I was thrilled. I LOVE this rearrangement; think itās the most brilliant thing Iāve heard in a long long time. Iād heard a version of it from England and practically drooled on my CD player. I didnāt hazard a hope for hearing this after seeing it in the Halloween setlist. What can I say? Ethereal, floating, haunted, and wistful, this song betrays time. Itās the shortest six minutes youāll spend in your life! Larry plays lonely chords that seem to vaguely imitate "Sleepwalk". The vocal is dead-on, Dylan giving meaningful looks and playing the crowd a bit. The hair stood on the back of my neck. I will never begrudge the money I spend out of my rather limited budget to see shows because of moments like this. Other people can not DO this! The song seeks the immortality of its singer - and it arrives. If this music doesnāt get in before the door gets closed, Iām not sure thereās any Heaven to get into. Maggieās Farm And just like that, the most pleasant surprise of the night in terms of performance. Such a meaningful song - I think itāll survive Rage Against the Machineās oligarchic political reading which is upcoming- because it has so many layers of meaning. And Dylan was emphatic about it! He aināt gonna work on Maggieās Farm noooooooo mooooooooooooooooooooorrrrrrrrrrrrrrrrreeee. He drew out the lines and sang his heart out. In its way, this song is just as sincere as "Tryinā to Get to Heaven". It might sound even better, if thatās not blasphemous. Tonyās fat bass line juices this one and the guitar solos were thumping. This one eventually managed to end, but Dylan extended the jamming for a good while. It took me back to another time - November 4, 1997, my first Dylan show. "Maggie" was the opener that night and it opened up a lot of things for me. Thank you Bob Dylan, for reminding us all that we aināt gonna work there anymore either. I Threw It All Away Wow! Sounded like "Every Grain of Sand" when the intro was playing. Larry played a gorgeous bit on the pedal steel- the only time he played it all night. Dylan started the song with the wrong words - "I once had mountains" came first. This caused huge problems in the second verse, which he wound and navigated through - creating a nice couplet- "I mustāve been insane/ Got no reason to complain". I believe he added a "No, donāt cry" after his first "I threw it all away". Bob seemed to really be enjoying this one. Doesnāt sound all that much like any version of it Iāve ever heard before and the performance from Dylan was pretty mediocre, due mainly to several problems with the lyrics, but what a treat! Bob can play this one whenever he feels like it, as much fun as it was to hear. Cold Irons Bound Again, I was thrilled when I heard the discordant noise that opens this one. Some people were starting to sit down, which was a rarity on this night - the funky beat kind of surprised them and then - the band came howling in, and they all got right back up. What a thumping raucous sound this creates. Dylan practically howls the vocal. Between this song and "Maggieās Farm", he ās really tearing up the old vocal chords (visualize John Lennon singing "Twist and Shout"!) On one verse Dylan comes in late with the vocal. The performance somewhat teeters, but Tony walks over to David Kemper and claps out the rhythm, pulls the band right back together. We get rewarded with a pair of screaming guitars, dueling in a brilliant solo. Damn, Larry and Charlie are great. A wonderful chaotic performance, with Tony moonlighting as the tambourine man. Dylan stops after this, pauses and talks about Steve Allen briefly, noting his death and commenting that he played on his show once and that he played "Hattie Carroll" for Steve Allen. Bob seems so comfortable dealing with everything these days! Band intros follow and Dylan gets a little toying with "Larryyyyyyyyyyyyyyyyyyyyyyyyyyyyy" and "Charliiiiiiiiiiiiiiiiiiiiiiieeeee". Cracking me up! Leopard-Skin Pill-Box Hat How old is Dylan? NO! He canāt be that old. He couldnāt rock this hard. This may or may not be the best show I ever saw- I donāt think in those terms anymore- but itās definitely one of the most rocking ones! Dylan is playing rock star now, posing and preening for all heās worth. Eat your heart out Jagger. A very solid version, nothing more or less. Things Have Changed Finally! After the formation (which is worth the price of admission itself), I at last get to hear this one. Itās slower than most versions Iāve heard - not unlike some demented remake of "Harlem Shuffle". The slower pace leads to a deadly accurate vocal. Other than the tempo, itās pretty faithful to the released version. Certainly a more precise sounding version than what Iā ve heard on many of the CD-Rs. Like a Rolling Stone See "Tangled". How can I begrudge him this song? Especially if he wants to play it this well. There is no answer, there never can be an answer when he explodes into the line - "how does it feeeeeeeeeeeeeeeeeel?" Another of those close the eyes and shake your head in disbelief moments. Iāll never tire of this. If Dogs Run Free Another show-stopper. This was something I definitely looked forward to and it was just as wonderful as I could have hoped. The crowd loved it! The audience started clapping along to the rhythm! A very neatly phrased vocal from Dylan, who plainly enjoys this as much as anything he does all night. Larry plays many neat little runs and mini-solos and Dylanās own guitar work shines on this one like it does on nothing else. Such a fine treat - feels like a comfortable old favorite, not a song being played for the third time ever in America! Lots of smiles for everyone on this one. All Along the Watchtower One minute playful, the next minute snarling. "Kitten with a whip" is a phrase I remember being applied to Dylan in a biography and the whip came out here. Dylan got behind the vocals by a second or two and he just made it all that much more dramatic and forceful. Larry and Charlie carry this song with bursting solos. It seems so quick really - A very decent performance. Blue Bonnet Girl As a fellow Dylanite asked me in the parking lot- "What the Hell was that song?" I donāt know that Iāve ever just laughed at a Dylan performance before, but this song just cracked me up. Itās got the very classic, mildly jazzy Tin Pan Alleyesque feel to it. Larry was about to start laughing when he sang the opening line, and that just set me off. Nice harmonies from Larry and Charlie and more nice guitar work from Larry (Charlie stays with the electric for this one). Dylan seems to be right on the words - probably using a lyric sheet. I really will be interested to hear this one back again - were my ears teasing me or does Dylan sing that the girl is "true as the Alamo"? Just the sort of mildly funny, obscure song that Dylan will pull out for fun. And in the encore no less. God, what a show! I Shall Be Released This one has virtually no intro. Bob comes right in singing and he gets it nicely. Itās a nice performance, very solid - until the chorus. And here come Charlie and Larry, soaring in and nailing the vocals. Dylan sings slightly ahead of them and the strategy works perfectly. Call and response is what it all amounts to! Such a poignant song and finally an arrangement that really befits it. This was one of the five greatest on this night - which is no small feat. Excellent! Highway 61 Revisited Rocking us all out once again. A very standard performance, which is to say extremely rocking and fun. If you donāt dance to this one, you should have your pulse checked. I wouldnāt mind something else being subbed into this spot, but itās a great rocker. And as much as Dylanās given us tonight, he could play it three or four times and I wouldnāt mind. Charlie makes his guitar talk on this one - and the speech is something to hear. Watchtower sounds apocalyptic, but Highway sounds just as dangerous - you might boogie so hard you hurt yourself. Blowinā in the Wind Iām sorry to say, the one real flat sounding vocal of the night. I think Bob basically howled his voice out and just didnāt have much left here. The ends of the lines sounded very jagged - but the chorus is still the selling point. Talking about the show with Ricky Cobb, we both agreed that the audience seems to love all of the songs with the harmonies and they carry this one on home. So in the end, we got one debut, one song not played in two years, and a couple more minor surprises and fantastic performances. Iām not going to make any claims of greatness for this show that I canāt back up, but it really was a fine, fine show. It was a great venue, a great crowd, and a great time - . A great show? Well, I canāt tell you that. We all have our own definitions of these words like "great". But I think we can all agree that definition number one therein is Bob Dylan. All the Best, Joe coxjr@wku.NOSPAMedu (Drop the NOSPAM to reply)
Subject: Re: Oops Bob!! From: Bob Gill Date: Sun, 05 Nov 2000 19:50:54 -0500 Jokerman71 wrote: > >During the Nov. 1 Indiana University Dylan show Bob sang "Lonesome Death of > >Hattie Carroll". Then about 3 songs > >later he said "I want to sing Hattie Carroll in memory of Steve Allen who > >died yesterday." Someone hollered out > >"You just sang it Bob!!" and Bob said "Anyway . . ." and he introduced his > >band!!! > > > > That's a nice story, but it's not true. He played "Hattie" fourth and then, > after "Cold Irons Bound" (#11), he said that he played a song earlier for Steve > Allen and that it was called "Hattie Carroll". He then introduced the band. It's always good to see mistakes corrected before they make the rounds. Good work! By the way, I assume Dylan's mention of Hattie Carroll in connection with Steve Allen means he still remembers his appearance on the Steve Allen show in 1964 or thereabouts where Allen kept asking him about that song, as reported in Behind the Shades and others, I think. In case you haven't read it, Allen was apparently waxing enthusiastic about Dylan as the poet of a generation and that sort of stuff, but took Dylan seriously when he introduced Hattie Carroll by saying something like "This is a true story, right from the newspapers. All I changed was the words." Allen apparently thought there was some serious point to this and kept asking things like, "What do you mean, you just changed the words? Which words?" Just a misunderstanding, I suppose, but it's interesting if Dylan still thinks of it. -- Bob G.
2000: March - April - May - June - July - September - October - November