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Bob Dylan 2001.10.06 in Seattle

Subject: Re: October 6, 2001 - Seattle, Washington - setlist
From: Steve & Kathy Rostkoski 
Date: Sun, 7 Oct 2001 01:07:34 -0700

Just got back from the show a little while ago.  I'll try to get some quick
thoughts down before I go to bed.

1.   Wait For The Light To Shine (acoustic)
>            (song by Fred Rose) (Larry on mandolin)
>   2.   To Ramona (acoustic) (Larry on mandolin)
>   3.   It's Alright, Ma (I'm Only Bleeding) (acoustic)
>            (Charlie on dobro)
 Great opening set.  "Ramona" had Bob kind of growling at the end of each
line.  Very powerful "It's Alright Ma" too.

5.   Tweedle Dee & Tweedle Dum
>   6.   Tonight I'll Be Staying Here With You (Larry on pedal steel)
>   7.   Stuck Inside Of Mobile With The Memphis Blues Again
>            (Larry on acoustic guitar)

"Tweedle Dee" was very good but didn't seem to quite reach full momentum to
me.  It will probably better as the tour goes on.  "Staying Here" was fun as
usual, while I didn't really connect with "Memphis Blues" until about midway
through when Charlie started playing this great kind of "chime" sounding

8.   Moonlight (Bob on harp)
>   9.   Masters Of War (acoustic) (Charlie on dobro)
>  10.  One Too Many Mornings (acoustic) (Larry on pedal steel)
>  11.  A Hard Rain's A-Gonna Fall (acoustic) (Larry on bouzouki)

My favorite part of the show.  "Moonlight" was much like the album version.
Bob's vocals were rough on the high notes (has he ever tried to sing this
high in concert before?) but it worked.  Big surprise when he pulled out the
harmonica at the end.  Made me realize I kind of miss hearing harp on "L&T."
"Masters of War" sounded great with the interplay between Charlie and Larry.
Larry also made "Hard Rain" one of the better version I've heard.  It was
quite emotional hearing Bob do these two songs at this point in history.

>  12.  Country Pie
>  13.  Sugar Baby
>  14.  The Wicked Messenger (Bob on harp)
>  15.  To Be Alone With You (Larry on fiddle)

"Country Pie" broke the somber mood but was great fun.  "Sugar Baby" was
another highlight, also much like the album version.  Bob and Charlie seemed
to keep an eye on each other to keep in time on this one.  I knew something
different was up when Larry picked up his fiddle before "Alone With You."
This was probably the biggest surprise of the evening.  Wonderful change of
pace from the usual "Leopard Skin" or "Maggie's Farm" et al.

16.  Love Sick
>   17.  Like A Rolling Stone
>   18.  Fovever Young (acoustic)
>   19.  Honest With Me
>   20.  Blowin' In The Wind (acoustic)

Didn't expect "Love Sick."  All the encores were solid, with "Honest to Me"
picking up steam far more than "Tweedle Dee" did.

All in all, a great show with quite a few surprises and only a couple
disappointments.  It seems like Bob is in the mood to mix the setlists up
quite a bit this tour.  Add the new possibilities of the "L&T" material and
I think we have an exciting leg of the Never Ending Tour ahead.

Hope all of this made sense since I'm falling asleep.  Goodnight!

Steve Rostkoski

Newsgroups: Subject: Seatle.... Excellent! From: Wantonlasandrox Date: 07 Oct 2001 07:26:21 GMT Excellent night. The crowd was very into the show. Highlights.... It's Alright Ma (after great opening songs), Masters of War, Moonlight (great debut! Arrangement very much like the album. Dylan's vocals were slightly different in parts, but he really crooned out the, "Won't yooouu...." Sounded great. Wicked Messenger was the absolute peak of the night. Dylan earned a lot of fans with that one. It was searing. Very heavy rock and roll with the band just slamming it home. Dylan played a lot of excellent guitar all night. These guys all played a lot of great guitars! Most of the band changed guitar ever couple of songs. Bob played that great, creme-colored Strat most of the electric set. Sexton changed a lot, as did Larry and Ganier, as well. I think David Kemper is good enough, but this band needs an even heavier, funkier, snappier, harder-hitting rock and roll drummer. They'd sound much greater with a Ringo Starr, Keith Moon, or Bonham. None of those guys are available! How about Elvin Jones! Now that's just what Dylan needs, to pump these great 2001 days into the level of the '66 stuff! ;-) Great show, anyway! Like A Rolling Stone was surprisingly powerful. The crowd was so into the show, particularly from the second half on. Lots of dancers. All over the back of the arena. The crowd was really swaying with every song. All over the floor. All over the stands. Key Arena filled to 90%+, though when the band came out it was about 60% full. There were a LOT of very beautiful, young women at this show, as there seem to be any time I've seen Dylan in concert. I can only assume they're there to see me! ;-) Great opener. Dylan was in great voice, and the band was the same as ever. Very tight and at times very massive sound. They can play delicately, too, as you know. And they did. Lots of mandolin on the first couple of songs. The set list mixed it up right away from last night. After three songs, two were brand new. For most of the night, Bob was in a "slow one," "fast one," mode. It all worked pretty well. Like I said, Bob surely earned a lot of big fans tonight. I suspect that anyone who came to the show unsure what it would be like left extremely impressed. Dylan and band rocked the joint.
Newsgroups: Subject: Re: October 6, 2001 - Seattle, Washington - setlist/Light Review From: Mitch Rath Date: 7 Oct 2001 09:06:30 -0700 > October 6, 2001 > Seattle, Washington > Seattle Center > Key Arena Bob dressed in typical black baggy looking pants with piping, topped by a black country style suit coat with double rows of white buttons down the back. He looked so thin, but still fit. And a new move that my wife called the "putting out the cigarette" move, where Bob rotated his left foot out and in repeatedly while at the mike; several dips, shuffles, guitar hero wide stances along the way too.... > 1. Wait For The Light To Shine (acoustic) > (song by Fred Rose) (Larry on mandolin) Great spiritual of hope to open these post September 11th shows. Beautiful harmonies to match the uplifting message. As much as I love Duncan And Brady, this is the more fitting opening cover tune. > 2. To Ramona (acoustic) (Larry on mandolin) Though I place many of Bob's acoustics above this one, this was one of the great phrasing outtings of the night, Bob found a way to bend and extend the last parts of each line along the way, and I kept looking over at my wife in a can-you-freaking-believe-that kind of way. > 3. It's Alright, Ma (I'm Only Bleeding) (acoustic) > (Charlie on dobro) > 4. Searching For A Soldier's Grave (acoustic) (Larry on mandolin) > (song by Johnnie Wright, Jim Anglin and Jack Anglin) > 5. Tweedle Dee & Tweedle Dum This one done very much carbon of album version, though the guitar work seemed more intricate even live. > 6. Tonight I'll Be Staying Here With You (Larry on pedal steel) > 7. Stuck Inside Of Mobile With The Memphis Blues Again > (Larry on acoustic guitar) This was the first one I found myself really wanting to move to. Really seemed to be the first true rocker of the night, and vocally very interesting by phrasing nuances as well as strongly sung. > 8. Moonlight (Bob on harp) This was smoother and sweeter to me than ablum version. Just a lilting little melody with Bob in that softer purr mode. Great one. > 9. Masters Of War (acoustic) (Charlie on dobro) There were times all night when phrases jumped out the conjured images of the dark days we have been living since September 11th. And, of course, Masters was the most blatant all night. For me, it was almost uncomfortable to hear some of the lyrics; just a bit to close to reality. > 10. One Too Many Mornings (acoustic) (Larry on pedal steel) Beautiful rendition, and similiar to recent renditions of the last year in terms of phrasing. > 11. A Hard Rain's A-Gonna Fall (acoustic) (Larry on bouzouki) Crowd sung along early on to this one. Bob forgot one line but made it through as usual. These last three somehow fit thematically for me. (The line in One Too Many Mornings, "you are right from your side, and I am right from mine" made me think of the current global conflict.) Just could not escape that so many lines in these songs seemed to comment on world events. > 12. Country Pie Rocked harder than I have seen live. > 13. Sugar Baby > 14. The Wicked Messenger (Bob on harp) This was the loudest tune all night, even so that Bob could barely be heard amidst the typically sub par arena acoustics. > 15. To Be Alone With You (Larry on fiddle) This was, for me, the best rocker of the night, thanks to this smoking fiddle riff that Larry kept laying down... never, ever, heard this one done better. For a moment I though it was Absolutely Sweet Marie circa '98, but quicker tempo. Johnny and the scorchers version. > > (encore) > 16. Love Sick Well done, though not really a live favorite of mine. > 17. Like A Rolling Stone Crowd loved this. White lights rolling out at the crowd for the chorus. *Almost* too glitzy for Dylan, but it was entertaining, and got people jazzed up. > 18. Fovever Young (acoustic) I enjoyed this more than I would have thought. It seemed like an almost personal reading, if possible, to the entire crowd, or maybe that's just the way I wanted to hear it. > 19. Honest With Me Very much the album version with superb guitar work. > 20. Blowin' In The Wind (acoustic) As somebody else has mentioned, Bob did some fine playing tonight, especially on the guitar. He found some nice little melodies within the melodies, and none sounded trite or like aimless noodlings. The harp playing was nice too, but very, very sparse. A very very good showing. On to Corvallis. Good luck, everybody, Mitch
Newsgroups: Subject: Re: October 6, 2001 - Seattle, Washington - setlist From: Netherly Date: 7 Oct 2001 14:24:16 -0700 It was, indeed, a great concert. I enjoyed seeing the audience show appreciation for Bob, to a degree I have not seen in other Dylan conerts I have been to. Phooey to those that say he is a "has-been". Anyway, here are a couple of my impressions: Masters of War was steaming. Front lighting was used to cast large shadows on the back wall - chilling. He left out a couple of the best verses, though. Overall, I felt the set list was mostly about having a good time with the music, and not about making a political statement (any more than any other Dylan concert). This was a little disappointing to me - I expected more. But then, having fun is not such a bad thing. The encore set was great, ending up with Blowin' in the Wind (the back-up vocals were a bit rough, though). For people not very familiar with Bob's lesser known works and L&T (like my wife), the standards brought it all back home.
Newsgroups: Subject: Re: October 6, 2001 - Seattle, Washington - setlist From: Musica Es_vida Date: Mon, 8 Oct 2001 05:16:54 +0000 (UTC) I agree...amazing show. Thought GA might suck but it turned out great. Nice crowd, as always. My short play-by-play: 1. Wait For The Light To Shine (acoustic) Nice...very similiar to the traditional songs Bob picks...shows off the 3part harmonies well. 2. To Ramona (acoustic) (Larry on mandolin) Not too this song, but not live anymore, sorry 3. It's Alright, Ma (I'm Only Bleeding) (acoustic) A this song too but since I saw him sing it live on the 30th Anniversary show I never thought I'd want to hear him sing it again. It's much improved..and of course very powerful considering...and even though it's old news nw, he took GREAT pleasure in stretching out the 'president must stand naked' line. 4. Searching For A Soldier's Grave (acoustic) (Larry on mandolin) Nice traditional, first time hearing this one live....need to research the lyrics I think 5. Tweedle Dee & Tweedle Dum Highlight of the show for me. Sounded JUST like the album, which since it's so damn new was a shocker and a treat! 6. Tonight I'll Be Staying Here With You (Larry on pedal steel) Bob just doesn't have the NS voice anymore...don't care for these songs live much. 7. Stuck Inside Of Mobile With The Memphis Blues Again This one always brings the house down...Bob always enjoys himself. Good one. 8. Moonlight (Bob on harp) *THUD* WOW...Bob nailed the vocals...really beautiful. Harp solo was gorgeous. 9. Masters Of War (acoustic) (Charlie on dobro) Not much to say...perfect, appropriate and welcomed by the crowd. 10. One Too Many Mornings (acoustic) (Larry on pedal steel) Very nice....saw a few heads turn that didn't know what song this was for a while 11. A Hard Rain's A-Gonna Fall (acoustic) (Larry on bouzouki) Big treat....and the words hit home 12. Country Pie Got the crowd going...I've heard it before but I think this was a better version. Wow on the guitar solos!! 13. Sugar Baby I really thoght the L&T songs stood out the most...including this one. Maybe it's b/c they're so true to form still...anyway, great great song. 14. The Wicked Messenger (Bob on harp) Started out peicy but tied up nice...rocking at the end! 15. To Be Alone With You (Larry on fiddle) More Nashville 16. Love Sick Never a favorite, but it plays well live 17. Like A Rolling Stone People next to me screamed and hugged eachother as the first few notes rang out. It was worth it just for that! Great 18. Fovever Young (acoustic) Nice treat. Bob is doing this lilting thing with his voice at the end of each stanza in a lot of songs now - as with this one - which I do not care for - but it was a beautiful version. 19. Honest With Me Who said David Kemper isn't the man!?! This song must be a killer to cover on drums and he hit ever goddamn note. Amen! 20. Blowin' In The Wind (acoustic) New version kinda...preferred the one from a few years back (more harmonies) but still incredibly moving and a great way to end the show. Lighting was awesome too! Had a blast! Come back soon BOB!!
Envelope-to: Date: Wed, 17 Oct 2001 12:31:48 -0700 From: Arthur Louie Organization: University of British Columbia To: Subject: Seattle review October 6, 2001 Key Arena Seattle, Washington So now it's day 2 of our soon-to-be-ending tour and we're going back to from where we came -- rollin' down I-90 again, through the Cascades as nature turns slowly into autumn. It's a pretty dull drive until you approach the Columbia River, but once you're there it's vast and rocky and magnificent. We've got Pat Garrett & Billy The Kid on RenŽe's CD player -- if you're ever driving through the desert or an expanse of barren land, this is the disc to put on. We're going to see Bob Dylan. Again. Yesterday RenŽe got up at 4:30am and drove from Victoria to Vancouver to Spokane, and now she's behind the wheel again and far more cognizant than Kiri or me. I don't know how she does it, but am I ever glad she does. RenŽe's heading to Corvallis tomorrow but Kiri and I are supposed to be going home after the Seattle show... Unlike Spokane, Seattle's a GA show and we arrive several hours early. In line is the gang from Victoria and vicinity: Eric, Nadine, Dave, and Eben. The first three have seen Bob all around, but Eben's a curious one. He's about my age and, until this weekend, he must have the highest boot to concert ratio in the world, probably something like 250 to 1. He's been waiting for over a year for this show and it's finally here. I call my friend Jon from Texas (aka greggorypeck in the pool) who's in town because of the kindness of his Uncle Richard. Jon's a great guy and I know this because he visited me while I was living near Seattle over the summer. We're having a Bob-themed after-party at Uncle Richard's condo and I can't wait to see what he's got planned. It's almost time for the chaos to begin and I overhear that they're going to be searching everyone. Yikes. You see, I happen to have two beers and a camera up my sleeve -- beer and Dylan shows go well together, but $4.50 US for a pint and my student budget do not. So I choose the financially sensible alternative and buy a six-pack for $3.50 at a convenience store. Joe from Vancouver tells me that I'm going to get busted, but I take a gamble. Well, I can't help it if I'm lucky... they only search bags and I'm running into the arena taking these awkward strides because of my hidden accessories. A guard tells me not to run and I don't know whether to walk or to run -- so I run. I'm still pretty damn nimble and manage to skirt by several eager concertgoers. I get about three rows back, dead center! Kiri finds me and somehow everyone I know clusters together and there's this Canadian entourage in the third row. We made it through! I covertly take a sip and then pass around my beers. Later, I learn that alcohol is forbidden in the premises. At around 7:59pm Eben remarks that the next 60 seconds will feel like an eternity. Kiri informs me that the orchestral music being played is the Hoe Down segment from Aaron Copland's "Rodeo Suite" and then there's Al Santos, as punctual as the night before, politely asking us to welcome Columbia recording artist Bob Dylan! Bob and the band open with "Wait For The Light To Shine" again; this time I'm better equipped to concentrate on the lyrics. "Pull yourself together, wait for the light to shine." Reassuring and hopeful -- Bob's pulled it out for a reason, and I'm wondering if he'll keep it for the rest of the tour. As I jot down the song name and some of its lyrics, a woman nearby tells me that I can "just look it up on the internet tomorrow". I ignore her, but the smartass inside me feels like telling her that I know a little bit about the internet and Bob Dylan. Larry keeps his mandolin and just like that they're into "To Ramona". It's another of Kiri's favorites, and mine too. Right away I know it's going to be one to remember -- it's all in the way Bob says "shut softly your watery eyyyyes". The last word is low, really low, and he does his thing where the subsequent rhyming words are delivered in a similar way. It's beautiful. Larry's doing some fingerpicking and it's easy to see without looking too far that we're about to get "It's Alright Ma, I'm Only Bleeding". Every time I hear this I consider myself fortunate -- it's Bob Dylan delivering words that only Bob Dylan could write. Bob's eyes become intense at the end of each verse, with words like "sacred" and "naked". This one may even top the version I heard at the Hard Rock in Vegas last August and I'm left in a spell, wondering how it could possibly be this good. I glance at Kiri, RenŽe, and Eben and we're all exchanging looks of bewilderment. It's the #4 song now, and again it's "Searching For A Soldier's Grave". I must admit to getting tired of this song after a few listens, since there isn't a lot of variation in it. I take this opportunity to note that Bob's wearing a different suit tonight -- it's a black country-style outfit with L-shaped arrows on his breast pockets, pointing in both directions. Nice, but last night's leaf patterned suit was nicer. "Tweedle Dee and Tweedle Dum" is a great electric opener and I hope Bob sticks with it for the rest of the tour. However, I hope tonight's unfortunate presentation doesn't hold -- the spotlight's on Bob so that Larry and Charlie are standing in the shadows. Charlie's guitar work is so agile in this song that he at least deserves to share the light like he did last night in Spokane. Furthermore, Charlie's guitar is turned down and I'm straining to hear those marvellous licks. I'm also interrupted halfway through the song because the security guards barge through -- the guy in front of me took some pictures a little while ago and now he's getting busted. He's sporting a big camera bag that makes him easy to pinpoint. (Lesson to readers: do not carry large camera bags and take pictures from the second row.) He's escorted away, but he'll return later sans camera. Next we're treated to a brilliant "Tonight I'll Be Staying Here With You". The smiles and moves are coming out and you can tell that Bob's getting into the groove now -- much quicker than last night! Bob's telling us that he can "see that stationmaster too" and it cracks me up. It's hilarious. I can hear it in my head, but I can't find the words to describe how he says "stationmaster too". Something tells me that there aren't words for the way he's expressing himself; you've just gotta hear it. And then Bob's up to his usual phrasing tricks: "Welllll, I -- find it -- too difficult -- to leeeeave". I think we all get a little excited when he inserts a "well" or a "yeah" in front of a line, don't we? And now that he's staying with us, he tells us that he's "Stuck Inside Of Mobile With The Memphis Blues Again". This could only be the work of a jokerman. The way he phrases the "all your railroad men..." line and his delivery of "you're just like me, I hope you're saaaaaaaatisfied" puts this one over the top. Now comes the most pleasant surprise of the evening, merely for its inclusion on the setlist: "Moonlight". I wasn't certain that Bob could pull this one off in concert, but he does an admirable job. It still could use a bit of work, though -- Bob's using some of his stutter phrasing, and this is a song that demands to be crooned. The harp solo takes everyone by surprise -- first that he's playing a harp to this song at all, and second that it's so appropriate. It's lovely. Everyone in the line of Canadians is taken aback by how sweet it is. Back to the acoustics and Bob and the band become dwarfed by their shadows. You know it's time for "Masters Of War". Halfway through, RenŽe gets my attention and tells me that Bob's using the singular, not the plural: he's singing "master" of war, that he can see through his "mask". I don't catch this and continue to hear "masters" for the rest of the song. Only tapes will tell who hears well and who's been left behind. (It's another passionnate, scorching "Master(s)", by the way.) "One Too Many Mornings" is a song I wish for at every concert and I can't believe my good fortune when Larry begins his beautiful pedal steel intro. Bob delivers a gorgeous, sweeping version of a personal favorite. I'm in a trance as I listen to it. I don't take notes, not even mental ones; I just soak it in. Mmmmm... Yet another acoustic treat follows, "A Hard Rain's A-Gonna Fall". It's a song everyone wants to hear and Bob's joined by thousands of voices as he sings its famous chorus. Aside from messing up the "wild wolves" line, it's delivered wonderfully. At one point, Bob says "I say it's a hard...". My favorite verse is the "I'll tell it and think it and speak it and breathe it" verse, and this time Bob says "sssssspeak it" with a confident spitting on the "p". Like "The Times They Are A-Changin'" last night, this one sends shivers down my spine. We'll switch to electric again and oh me oh my! It's "Country Pie", always great fun to hear live. Everybody's dancing around, even the people who have no idea what's being played. It's pretty similar to the versions from earlier this year, with Larry and Charlie letting loose on their duelling guitar solos. "Sugar Baby" is again magnificent, though I know what to expect this time and am not stunned like I was in Spokane. The absence of drums hushes everyone to silence and Bob's voice soars and echoes around the arena -- the song has this ethereal feel to it like no other live Dylan performance in recent memory. Like yesterday, Bob's taking audible breaths between words: "you can't turn back (breath), you can't come back...". Amazing. And also, like yesterday, the lights have dimmed to purple. Sugar Baby is a purple song. We're back to heavy drums and kick-ass rock 'n roll with "The Wicked Messenger". Wicked indeed... "if you can't bring good news then don't bring annnnny". Bob's communicating with Tony and David a lot during this one; it's that unspoken language they use with their nodding heads and the look in their eyes. We've got solos aplenty here, with an extended guitar solo and Bob adding an extra verse worth of harp at the end. Is that a fiddle Larry's got now? What could it possibly be for? They start into the song and I CAN'T BELIEVE IT!! They're playing the new arrangement of "To Be Alone With You", one of my favorites. I think my friends are amused by how excited I am about this. I had just missed this one by a day when Bob last played it (Sun City in August) and the setlist obsessor in me knows that it's a rarity. You've gotta love Larry -- he's terrific on the fiddle and everyone's finding a way to follow his beat. My friend Nadine's dancing up a storm in front of me. I only have one entry in my notepad: "wow!". During the song Bob introduces the band and afterwards he can't stop smiling. He doesn't say anything to us aside from the band intros, but he's smiling like a little kid. It doesn't get any better than this. They're gone, we cheer, they're back and it's the eerie staccato of "Love Sick". It feels a bit out of place in the encore because it smothers the energy of the crowd. I'm a bit surprised that Bob didn't start the encores with Honest With Me like he did last night. But that energy's back with "Like A Rolling Stone". My comments about yesterday's show apply here too -- I can't imagine it any other way. This one's delivered even more confidently tonight. He's saying things with a swagger, but there's no pride swallowing here! Yeah, Bob. You're the coolest 60 year-old on the planet and you know it. Next he pulls out "Forever Young", a song that I pray for each time I see him. It just puts me in a trance. Flash back three years and 10 Dylan shows ago: October 30, 1998 in Ottawa. It's my first show and Bob ends it with a benediction, the same song he's singing in front of me right now. This beautiful song of unconditional love. I pledge to myself after that show to see Bob as many times as I possibly can. And here he is again, telling all of us to build a ladder to the stars and to climb on every rung. We're back to electricity and here's the song that I expected earlier: "Honest With Me". When Bob sings "there's a Southern Pacific leaving at 9:45", I notice that it's 9:53pm -- yesterday he said it at 9:30pm. Could it be? Nah. :) Bob does this great move towards the end: he slides, then he swoops down, and then he jumps! I can't believe it and my Canadian compatriots are all cracking up. After the show I ask RenŽe if she's ever seen it before and she has -- but for me it was a first. At the end of the song, Bob and the boys get together real close and it's as though they're doing a group pose for everyone who's smuggled in a camera. I don't get a picture, but it's there in my mind (and that's good enough for now). Finally, we're at "Blowin' In The Wind" and it's sweet sorrow because as much as I love the song, I know that soon Bob's going to be drifting to another scene. his vocals are a little more throaty than usual, but of course it's still lovely. He's acknowledging the crowd now, throwing out grins, posing. After the show, my friend Brook tells me how it's still in his head. We take this arrangement for granted because we hear it so often, but it's the perfect way to end a concert. The last thing Bob tells us is that the answer's blowin' in the wind. The band gets into the Formation and Bob's bouncing around like a prize fighter and then they're gone. Just like that. Kiri and I had intended only to see Spokane and Seattle, but earlier in the day we discovered that RenŽe could give us a ride to Corvallis and back. We said we'd decide after the show and it's a no-brainer, of course. After all, we'd just seen two incredible and yet completely different concerts. It wasn't just the setlists, though we heard 12 songs in Seattle that we didn't hear in Spokane. Spokane was more exhilarating, and yet Seattle was more playful. What if Bob were to give another live debut in Corvallis? What if it was Mississippi? Po' Boy? On to Corvallis we go. No one in front of us and nothin' behind. Oh, and about the after-party -- it's a blast. Everyone in attendance receives a commemmorative Bob refrigerator magnet made by greggorypeck himself. As well, we try to incorporate as many Bob-themed foods as we can: Jon makes a string bean dish and Beatty Zimmerman's famous chocolate chip banana bread. My travelling companions and I bring along some Santa Fe flavored potato chips and a candy called "Sugar Babies", as well as some Jamaican Rum and Coca-Cola (well, not really... we could only find Pepsi). We had many other ideas, but like Jon said, they would have been pretty gross to serve. A million thanks to Jon and Uncle Richard for their hospitality. What a grand time! And hello to everyone I met up with, especially the new faces.
2001: February - March - April - May - June - July - August - October -