Re: Canadeeio

On May 20, 1:33 pm, PrivateCitizen_dudley <dud...@xxxxxxxxxx> wrote:
Dear St. Annie,

Thanks a lot for this inDepth analysis.

Can i take it you enjoyed the Show?

Sounds like i'll have to find this posted as mp3 (i'm morally opposed
to bitTorrent).

As to yr:

}

(is a professional barber who's a sane Sweeney
Todd with the straight razor traveling with the show these days???)
{

It's my contention that no man can fashion a 'stache like that without
2nd party assistance.

Stroply yrs,
dudley

Agreed on the 'stache, Perfesser.
It looked sharp again last night -- along with the hot black suit with
crimson trim. The best boots: looking brand-new, too new really, as
if never walked a step in -- black with an almost spectator-style
pattern of white dots/stitching. You really noticed 'em when he
danced, which was often.

Highlights: the opener, It Ain't Me, Babe. Yowls start at he blows
the harmonica, and George laughs at this. Tony doesn't. Tony looks
much younger from 8 feet away.
Tangled up in Blue: the redhead in the topless place, tonight,
"started ta laugh in my face." No more carpenter's wives; they're
"truck-driver's wives." He flicks out the hair at the back of his
neck, after the number, and fluffs it out. Hot up there under the
lights already.
Mississippi has a lovely swinging beat. The keyboards drive the song.
John Brown and Masters of War: raw, upsetting. Quiet, listening
crowd.
Honest With Me: midway through, prepping for keyboard solo, Bob takes
his hands off the keys and adjusts his lapels, strokes his hair,
chin. Elegant as he moves. Playing he crouches behind the keyboard,
slinky, tongue out, concentrating. Donnie is watching his hands like
a hawk.
Just Like a Woman: ribbons and bows have fallen from her gown.
A great It's Alright, Ma.
Beyond the Horizon provides the best crowd-pleaser moment of the eve:
Bob looks at Donnie and gets the giggles. Cracks up onstage at his
lounge-lizard self, or who knows what, just like Elvis in the midst of
Are You Lonesome Tonight. He can't stop laughing. George starts to
too. At the break he/they seem to recover, but as the band rips into
Highway 61 Bob cracks up again. Between the Howard and Louie the King
verses, he's laughing hard, and a crowd up front who can see him and
who's infected by the laughter isn't helping. We don't know what the
joke is, but it's a trip to laugh along. This suits Bob Dylan a lot
better than the poker face he concentrates on pulling for the rest of
the show. He doesn't so much as smile again, but he's nice and loose
as they take their curtain call.
Rolling Stone makes everyone happy, especially the kids, of whom there
are hundreds n a small audience. The floor's sold out, but there are
lots of empty seats down there when the show begins. The security
guards were efficient and professional, but they let the dancing kids
dance, as they ought to have.
.

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