The Official 2022 Duluth Dylan Fest Trivia Contest: Let's Play 40 Questions

The Official 2022 Duluth Dylan Fest Trivia Contest  
For a number of years we included a trivia night as part of Duluth Dylan Fest. For those events we always created multiple choice tests so the general public would have at least a small chance of a getting batch of correct answers. Not so with this trivia contest. This a test for the diehards, and not an SAT. 

For the record, I stumbled across this in my Dylan folder and realize I'd never shared it. In retrospect, it could have been a lot harder. I'm sure many of you will find most of this pretty easy. Have fun traipsing down memory lane.

ROUND ONE

1. Who is the bass player who has become Bob Dylan's longest running sideman? [Bonus: What year did he begin playing on the Never Ending Tour?] 

2. What year did Robert Zimmerman graduate from Hibbing High School?

3. Who was the Duluth Disc Jockey that Bob Dylan mentions in his book Chronicles, Vol. 1?

4. Which Duluth hospital was Bob Dylan born in and on what date?

5.  Which Dylan album featured Scarlet Rivera with her sizzling violin work?

6. What Dylan album was released on 9/11, the day the Twin Towers fell?

7. When the album Tempest came out, many people thought it would be his last studio album because its title was the same as what?

8. During the pandemic, Dylan released a 17-minute song about the assassination of JFK. What was the title of that song?

9. What Hibbing sweetheart is most likely the one Bob refers to in his song "Girl from the North Country." 

10. Where did young Robert Zimmerman attend kindergarten?

ROUND TWO

11. According to a Fond-du-Luth security guard who used to play Monopoly with him at Louis Kemp's house, what was Bobby Zimmerman’s favorite Monopoly piece?

12. The line “But even the president of the United States sometimes must have to stand naked” is from what song?

13. Woody Guthrie was one of Bob Dylan’s early influences and a hero to him. What was the name of the Woodie Guthrie book Bob used to carry around with him when he first went to New York?
 

14.    Bob Dylan lived in Woodstock for a while. What was he doing while the Woodstock music festival was taking place in 1969?  [No, he was not watching the moon landing.]

15.   Dylan originally signed with Columbia Records and produced most of his studio albums with this label. Two of his albums in the mid-70's, however, were with another label. What was that label?  

16.  Who was the New York Times music critic credited with giving Bob Dylan his first major career boost?

 
17.  Which album was the first to have one of Dylan’s own paintings on the cover?

18. Mick Jagger once called this Dylan’s greatest song. The opening lines make reference to the lynchings that took place here in Duluth just over a century ago. Name the song.

19. The song "Only a Pawn in Their Game" is about the assassination of what civil rights leader in 1963?

20. In 2022 the BBC censored this great civil rights song because it has the N-word in it. What was the name of the song?

ROUND THREE

21. What childhood friend did Dylan ask to head up his unconventional 1970’s concert tour known as the Rolling Thunder Revue?

22. Dylan’s song "All Along the Watchtower" was made famous by Jimi Hendrix. What Dylan album did the song originally appear on?

23. For several years after his motorcycle accident in 1966, Dylan stopped touring or doing big concerts. In 1971, his friend George Harrison invited him to perform in a benefit concert for what country?

24. The Live Aid concert was one of the largest productions ever to use the influence of rock stars for fund raising purposes. The two guitarists who performed with Dylan were from what famous rock group?

25. In 1979 Bob Dylan announced that he had become a follower of Jesus. His first album as a Christian was titled what?

26. Dylan won an Oscar for this song. It was written for the movie Wonder Boys. What is the name of the song?

27. What year did Dylan win his Nobel Prize for literature?

28. Sometime Bob has been called a jokerman. The song "Jokerman" is the opening track on what 1980s album?

29. Half the tracks on this gold album were recorded in Minneapolis because Dylan didn’t like the results of some of the recordings in New York. What was the name of the album?

30. The Minnesota musicians were not credited on the album cover for their work on the record because the album sleeves had been printed already. It wasn’t till more than 40 years later they got recognized when the Bootleg outtakes of this album were released. What was the name of this Bootleg set?

ROUND FOUR

31. Who was the Grateful Dead songwriter whom Bob Dylan collaboratd with on Dylan’s 2009 album Together Through Life?

32. What is the name of the only Dylan song that begins with a V?

33. What song does the line, “I’m not the one you need” appear in?

34. This album is comprised of songs written and recorded during Dylan’s reclusive period in Woodstock. Members of The Band were invited there and over a period of time created/recorded seemingly countless songs, both whimsical and serious. What year was their double album The Basement Tapes officially released?

35. Levon Helm, drummer for The Band, wrote an autobiographical account of his life growing up and performing with the band. The title of his memoir was taken from the last track on disc 2 of the Basement Tapes. What was the name of that song and his book?

36. This album was Dylan’s first to hit #1 on the Billboard charts. What was the name of the album?

37. Bob Dylan is an artist and an author as well as singer/songwriter. What was the title of his first book?

38. What is the brand name for Bob Dylan’s whiskey company?

39. Bob Dylan’s uncles owned theaters in Hibbing. When he was growing up he enjoyed going to movies. What’s the name of the song that mentions Gregory Peck? The song appeared originally on Knocked Out Loaded and later appeared on his Greatest Hits, Volume 3. 

40. The Answer, my friend, is what?

ANSWERS AT THE BOTTOM AFTER THESE DYLAN PAINTINGS

"Don't Look Back" -- Limited edition giclee print. 

Blonde On Blonde (NFS)

* * * * * 

1. Tony Garnier, 1999.     2. 1959    3. Pat Cadigan    4. St. Mary’s – May 24, 1941    5. Desire    6. Love and Theft    7. Shakespeare’s last play    8. Murder Most Foul    9. Echo Helstrom    10. Nettleton School, Duluth    11. Scottish Terrier    12. It’s Alright Ma (I’m Only Bleeding)    13. Bound for Glory 14.   Packing his bags to perform at the Isle of Wight concert the following week.   15. Asylum Records   16.  Robert Shelton   17.  Self Portrait   18. Desolation Row  19. Medgar Evers   20. Hurricane.   21. Louis Kemp   22. John Wesley Harding.   23. Bangladesh    24. The Rolling Stones.  (Keith Richards, Ron Wood)    25. Slow Train Coming    26. Things Have Changed    27. 2016    28. Infidels   29. Blood on the Tracks   30. More Blood, More Tracks   31. Robert Hunter   32. Visions of Johanna  33. It Ain’t Me, Babe   34. 1975   35. This Wheel’s On Fire   36. Planet Waves. 37. Tarantula  38. Heaven’s Door  39. Brownsville Girl  40. Blowin’ in the Wind

* * * * *

Illustrations by the author. 
Top of page: Famous mid-60s shot projected onto background of a 1970s illustrated ink on illustration board mandala by Ed Newman inspired by Mark Tobey. 

"Don't Look Back" painting, 36" x 24" acrylic and latex pigment on panel.

"Dylan II" by the author. One of my personal favorites.

"Blonde On Blonde", 12" x 24"

Ranking Bob Dylan Album Covers and More, with Dylan on my Mind

Dylan on my mind.

 

Click to enlarge.

This is a "chart" that I saw on Reddit. Seems like quite a while since I saw a list of favorite Dylan album covers. As for me, I find it almost impossible to do something like this. It's much like being asked to rank Dylan's albums (or the Beatles), or pick the top 10 songs.

One can't help but notice that all of the top tier selections are from the 60's and 70's. How much were the selections based on a love of those specific, iconic albums or their half century of famliarity?

Those early albums cemented Dylan's stature as a songwriter. His Never Ending Tour has cemented his stature as a performer. 

Here's a link to where I pulled the album cover chart from: https://www.reddit.com/r/bobdylan/comments/zhb5j2/bobs_album_covers_ranked/

* * * *

Another cool site I discovered this past 24 hours was an A.I. art generator. You plug in keywords, select a style and the bot create
s an image based on your criteria.  

Since I've got Dylan on my mind today (am writing this while listening the the Dylan Hour (Highway 61 Revisited, hosted by Miriam) and a Dylan-themed op-ed was published in our local Duluth News Tribune, it seems appropriate to share a few Dylan-theme designs by my A.I. "bot" friend.

May you stay forever young.

That means keeping an open mind to new adventures.

As Miriam is fond of saying, "Catch you on the flip side."

This Day In History: Concert #1031 of the Never Ending Tour and the Unveiling of the Hibbing Dylan Project

The Hibbing Project was unveiled today.

The Never Ending Tour purportedly kicked off on June 7, 1988. Since then, Bob Dylan has performed more than 3,000 concerts before last year's hiatus--cancellations due to Covid. This coming November 2 Bob Dylan, now 80, and his band will be back on the road with stops in Milwaukee, Chicago, Cleveland and Columbus that first week. 

Though I'd been a lifelong Dylan fan, it wasn't till October 1998 that I experienced my first concert, an eye-opening experience. It became clear that Dylan was much more than a singer-songwriter. The "song and dance man" obviously enjoyed the role of performer. Only later did I learn about the fans who followed the tour the way Deadheads had followed the Grateful Dead circus.

My first NET concert took place in October 1998. I had already been deeply immersed in Time Out Of Mind since its release in September '97. When I wrote my summary of the concert I called it "an early Christmas."

The Edmonton playlist on this date differed in some of the particulars. Dylan shuffled in several songs that were especially priceless for me including "Tomorrow Is A Long Time," "Ballad of a Thin Man," and "Don't Think Twice." Both concerts ended with the closing encore which also served as a benediction: "May you stay forever young."

Here are some of the details of that concert from archivist Bill Pagel's Boblinks website, the go-to destination for upcoming concerts and archives of playlists, dates and concert information.  

THIS DAY IN HISTORY, TODAY

Today a healthy crowd of Dylan enthusiasts and Hibbing citizens gathered in front of the historic Hibbing High School for the unveiling and dedication celebration of the Hibbing Project, a tribute, memorial and source of inspiration for Dylan fans and students--present and future--of Hibbing High School. 

There were several other events of note today in Hibbing related to this dedication. Over the next few days I plan to share photos and additional details.

For the record, I have been to many tributes and unveilings. You would think we'd get jaded after awhile. I think the big surprise for me was how meaningful this event was, not just for me but clearly for all involved. This project began with what may have been an off-hand remark by a former Hibbing High School teacher when Bob Dylan was awarded the Nobel Prize for Literature in 2016. This remark morphed into a dream and then a mission leading to a groundswell of support. According to Katie Fredeen, President of The Hibbing Project, literally tens of thousands of volunteer hours were invested in this monument "for the students, for the city and our visitors." 

When unveiled, the final result did not disappoint, a tribute truly worthy of the former Hibbing High student who has since left his mark on a generation. More will be shared in the days ahead.

Standing on the corner of the "road facing" side of the project.

Moments before the unveiling.

The monument is quite classy. There's a curved wall with an outer facing tribute to Dylan's Nobel Prize achievement. On the inner face there was something somewhat diminutive wrapped in plastic and behind it the wall which some of us know contained lyrics from Dylan's catalogue. The smaller was unveiled first, a bronze chair where students, visitors and fans can sit and reflect, imagine, dream, designed and created by Gareth Andrews. The backdrop for this was unveiled next, la lyric panel with lines from fifty or more Dylan songs, designed and executed by Brad Kaspari.

To be continued.

Dylan's April Japan Tour Cancelled for Obvious Reasons

Longtime Dylan fans already know that BobLinks.com is the place to go to stay current on Dylan's upcoming schedule. Want to know where Bob will be next and where, BobLinks has at all, thanks to Bill Pagel, one of the most organized people I've ever known. (Bill: when are you going to write that book on how to organize your home, your life and your passions?)

It was pretty exciting when the BobLinks calendar got updated for the Never Ending Tour 2020. 15 shows in Japan were slated from April 1-24. You'd never know that this cat was going to be 79 this year. After taking a month off in May, the NET would resume in June, beginning in Bend, Oregon, sliding down the West Coast and weaving its way across the South to various Eastern Seaboard venues.

FWIW, the Japan shows are cancelled. The U.S. show remain on the docket, but we'll see how things unfold. The pessimists abound, some predicting that a million Americans will die. The optimists quietly assert that 90% of what we worry about never happens. Just be wise.

Photo courtesy Philip Hale

I remember when Desert Storm was about to begin. Here's what I've written elsewhere after that 100 hour "war."

But what struck me — and many others — most was the disparity between what happened and what many talking heads predicted would take place. Before the campaign, code-name Desert Storm, we were continually reminded of the quantity of missiles, land mines and nerve gas the Iraqis had at their disposal. Furthermore, in its eight year war with Iran, Iraq had not lost a single defensive battle.

The pundits got it wrong. And not just a little wrong, but massively wrong.

I don't know where Bob will be spending his unscheduled vacation time, but I suspect he will attempt to remain "out of range" during these times that are ever more strange.

Laura Leivick's Take On Bob Dylan's December 5 Show at the Beacon

Photo courtesy Laura Leivick

I recently learned that O. Henry, the short story writer who made twist endings famous 120 years ago, used to get ideas for stories by hanging around busy hotel lobbies and eavesdropping on conversations. I identified with this because I, too, have had a number of blog posts triggered by things I overheard.

So it is that I enjoyed the opening of lines of Laura Leivick's lively review of Dylan's show last night at the Beacon Theater on the Upper West Side. The veteran writer (NYTimes Magazine, WSJ lit critic, Rolling Stone copy editor, etc.) and lifetime Dylan fan (how many of us began with Bob's first album) shared this review of the December 5 concert.

* * * *
ONE MORE TIME AROUND
Tonight, after the Dylan concert at the Beacon, I heard two guys in the 20-30-something age range, who had seen the show, having a manic exchange about how amazingly Bob's work defies age. "He could be 30," exclaimed one who looked like he might be 30 himself. Oh, yeah? That kind of stagecraft--not to mention the setlist--was built over a lifetime.

It was a great concert no matter how you slice it, though it took me a while to catch on. The opener was puzzling--Bob singing "Things Have Changed," great! but playing electric guitar--why? (If it's because he can, well, I guess that's as good a reason as any.) Soon enough, however, he was building up a head of steam, and by the time he reached the final encore, he was tearing up the place. I saw a bank of scofflaws, their cameras a-blazing; people were dancing in the aisles, even the skinny spaces between rows of seats. Near the stage, a girl with blond bobbed hair bopped so joyfully I thought Bob should put her in a wheel barrow and wheel her down the street.

I got off to a slow start--I was jarred by the volume of the new drummer, Matt Chamberlain, and thought his sound lacked variety for a few songs. Or maybe the acoustic balance was off (or my hearing was, or where I was sitting was a problem—tho’ mid-orchestra should be good).

But by the time Bob was singing "Trying To Get To Heaven," accompanying himself on piano, I had recovered. Tony Garnier played the violin. If that doesn't open the door, nothing will.

Next up, the night's power-packed versions of "Pay in Blood" and "Early Roman Kings," and then the mood changed utterly and we got "Girl From the North Country" with Donnie Herron's haunting, Irish-inflected fiddle. Best version I ever heard. I held my breath.

Photo courtesy Philip Hale from previous show.

I guess I should note that the stage didn't resemble a supper club tonight, as it has during other Beacon runs, and the band wasn't dolled up in matching dinner jackets. Bob was dressed fancy for the occasion and wore no hat. The stage was set up so that when he left the piano he could easily and quickly be center stage singing and playing harp or guitar.

I was sort of embarrassed by "Not Dark Yet," which Bob sang from center stage with Herron on pedal steel. I'd call it corny--the pause between "It's not dark yet" and "but it's getting there" struck me as pure melodrama. However, the hard truth is it's Bob Dylan singing his own song about (his own?) mortality, so that's that.

The last four songs and the two encores left us all screaming. Hope we'll reconvene next Fall.

* * * *

Thanks, Laura, for contributing your insights here. Rich! What a privilege we've all had who took advantage of the opportunity to catch one or more of the shows on this fall's chapter of the NET.

Tonight (if you're reading this Friday) is the last of 10 performances in the Big Apple, with a final punctuation mark for this leg of the Never Ending Tour at The Anthem in Washington DC Sunday evening. If you can find a seat, take advantage.

Related Links
Another Review of Last NIght's Concert, by Johnny B
Dylan at the Beacon--Philip Hale Shares Why Fans Keep Coming Back for More
A Brief Glance at the Life of William Sydney Porter, a.k.a. O Henry 
Spotlight on Writer and Expecting Rain Contributor Laura Leivick
Start Spreading the News: Dylan Still at the Top of His Game in the Big Apple

Dylan at the Beacon--Philip Hale Shares Why Fans Keep Coming Back for More

At the Beacon Theater, 2018. Courtesy Nelson French

Bob Dylan is just past the midpoint of his ten shows at the Beacon Theater in New York, winding up the latest leg of his Never Ending Tour with an exclamation point in Washington, DC next weekend on the 8th. The reviews throughout have been stellar, especially the fan reviews at BobLinks.com where you can also see his ongoing schedule. (His April tour in Japan is now on the calendar.)

As most longtime fans know there are a number of fan forums and sites to follow Dylan, and as you've no doubt surmised, some are on Facebook. Though I had something else on the docket to post today, I so enjoyed Philip Hale's summary of the recent show he saw at the Beacon that it pre-empted everything else.

Hale hails from Brooklyn, a famous hometown for many writers. (Noteworthy: Literary Brooklyn: The Writers of Brooklyn and the Story of American City Life by Nathan Hale) It's also a nesting place for many Dylan fans, some who are themselves noteworthy writers.

This was Philip Hale's review which I read at The Bob Dylan Fan Club on FB this morning, shared with permission.

* * * *

“Bring down my fiddle
Tune up my strings
I'm gonna break it wide open
Like the early Roman kings”

This time last year I was halfway through Dylan’s residency at the Beacon. I was a guest on an episode of Rob Kelly’s Poddylan. (You should check the podcast out and I thoroughly recommend Tara-Jane Hulligan Zuk ‘s appearance where she discussed Highlands if you want a good starting point--mine not so much unless you are studying the stupefying effects of obsession!).

Rob asked what I got out of seeing multiple shows and I totally punted the answer, rambling about walking on tightropes (Dylan not me) or some similar cliched nonsense. Anyway, I find myself again at the mid-point of eight Beacon shows.

Last night Dylan reached out into that beautiful theater and provided the definitive answer. I go again and again because as an artist Dylan sometimes accesses a place in himself that pours out an other-worldly energy through the conduit of a distinctly human form.

There are shows where he is a musician, a clearly exceptionally talented performer going about his job. Then there are nights like last night. There were many stunning moments but Early Roman Kings is illustrative of the point I am trying to convey. It’s a minor song in the context of Dylan’s canon but it’s a song that he has played the most from Tempest, clearly a song he is still chasing. Last night he vamped, he twisted his body, he snarled and pointed, singing from center stage delivering the defiance and the menace of the lyrics with body language that was lining up behind a vocal of such intensity that it rattled the brain. The band pushed the song to places Dylan’s commitment demanded. He knew it too.

The song has been a highlight of the other three nights but here it was stripped down to some essential nature and then rebuilt into a towering edifice. He seems to have revisited this song searching for exactly this moment, forcing the audience to meet him where, as a friend put it, he is in his ongoing conversation with himself through his music. Having delivered all of that he walked to the piano to emote quietly on Girl from the North Country.

Last night that juxtaposition was at once devastating in its power and ethereal in its impact. I could have gone to one night, but if it didn’t happen to be this one then I would have missed a moment where being entertained is replaced by being transported by a piece of art. The whole show was sublime but that two-song combo was mesmerizing. If you are open to it, Dylan tugs at your heart and rips at your soul. I am grateful to have the opportunity to give him multiple goes at it.

Philip Hale, 30 November 2019


Early Roman Kings is just such a great song, even if not his most important. And like so many songs this guy writes, I mean, who else writes songs like this? It's amazing the way Bob re-invents himself. It begins...

All the early Roman Kings in their sharkskin suits
Bowties and buttons, high top boots
Driving the spikes in, blazing the rails
Nailed in their coffins in top hats and tails
Fly away little bird, fly away, flap your wings
Fly by night like the early Roman Kings

For me it's the presentation, as much as anything, that carries you, conveying something menacing yet deceptively something else. In my mind, I see and hear Bob strutting.

You can tell Dylan likes the song because by the end of this round of his NET he'll have played it more than 500 times since released in 2012.

For a totally different take on the song, if you want a deep dive, visit Tony Attwood's Untold Dylan where he addresses the song from a couple other angles. I disagree with some of his speculation, but always like the links to other sources.

For some reason an image from Slow Train Coming comes to mind for me where he describes "Sheiks walkin' around like kings, wearing fancy jewels and nose rings." It's maybe an echo and not a rhyme.

If you want do dig further, here's where you'll find the rest of the lyrics for Early Roman Kings.

Meantime, life goes on... and so does the Never Ending Tour.

Warm Welcome for Dylan in Minnesota: Bringing It Home at the Mankato Civic Center

The stage had an old-timey surreal theatrical feel.
(Those are mannequins in back)

I wasn't planning to see Dylan on this current leg of the Never Ending Tour, but the reviews have been so strong I couldn't help myself. Tuesday evening I checked to see what was available and grabbed a $12 seat ($17.17 after fees) and then began working on how to get to Mankato from Duluth. When all was said and done, the experience was memorable.

Thank you to Rich & Sue Hall who gave me the lift to Mankato. Rich said this was his third  major concert this week, having seen Willie Nelson and another big name in Vegas at the beginning of the week. Dylan has been doing five concerts a week right now, and his vocal punch shows no signs of letting up.

Dylan's muse on a pedestal, stage right

Despite the knots of rush hour traffic in Minneapolis, and a Thursday Night Vikings game at US Bank Stadium, we navigated through just fine and there were no chewed off fingernails. After scarfing down a burrito at Kato Tacos, I passed through the security checkpoint and began circulating around the arena, grabbing a few fotos and greeting a few friends.

Upon finding my seat, still early, I had a chance to get to know a few of the others who were in the not-so-prime location for viewing the band. Roger and Debbie Seberson, from White Bear Lake, have been to somewhere between 40 and 42 Dylan shows. Jon Erickson of Bloomer, Wisconsin was attending his 49th concert. And young Brook Honig, who also drove down from Duluth but grew up in Wichita, Kansas, was attending his first Dylan concert.

* * * *
At 8 p.m. the arena lights went dark and a cacophony of electronic sound erupted from the darkened stage as the players took their positions. When the lights came on Dylan was standing at the mic, guitar in hand, gold embroidered jacket, black slacks with a gold stripe on the outside of each leg down to his white boots. Hair frizzy and wild, voice strong, "Things Have Changed" was this night's opener.

The energy in the room amped, or was it adrenaline pumping into bloodstream?

After the first song Bob permanently discarded the guitar and took a seat at the piano for a beautiful rendition of "It Ain't Me, Babe" that felt sincere and pained. When he stood to deliver the last verse the crowd responded. When "Highway 61" kicked in the totally amped crowd was all in. The guitar players did the two step in sync, silver jackets glistening in the lights, Tony Garnier giving a fabulous bass line underneath. My feet were shuffling and the room was moving.

Bob remained at the piano for "Simple Twist  of Fate," with variations in the lyrics plus an extra verse, instrumental breaks between. The playlist was following the pattern of his Denver show.

For Can't Wait, Bob left the piano and grabbed the mic, backing to mesh with the band at the back of the stage. This was a funky variation of the song, with especially strong emphatic singing. "I don't know, said I don't know, how much longer I can wait."

The stage went dark as Bob re-positioned himself back at the piano to perform "When I Paint My Masterpiece." The tune and tempo were different, but the singing sizzled and was heartfelt. Halfway through he went to the back of the stage again and grabbed his harp, which seems to never fail to please the crowd, finishing the last part of the song as a vocalist.

iPhone view from the cheap seats. Binoculars got right up close though.

Moving back to the piano he took his Jerry Lee Lewis stand, legs spread with his weight on the right foot, belting out "Honest with Me" from Love & Theft. This was followed by his taking a seat to perform "Tryin' to Get to Heaven Before They Close the Door" from Time Out of Mind.

This and later "Not Dark Yet" brought to mind how many of Dylan's songs deal with the finite nature of life and issues of meaning. On his very first album we have selections like "See That My Grave Is Kept Clean" and "In My Time Of Dyin'" and ten years later "Knockin' On Heaven's Door." It's a recurring thread appearing several times this night.

Donnie's violin opening to "Make You Feel My Love" was sweet, and used frequently during the show. Bob tucked himself back into the band again on this song, delivering lyrics with visceral power, holding the mic to his face with his right hand, punching the air with his left.

This is where some of the action takes place.

There was a new arrangement to "Pay In Blood," which opened with a guitar intro. Bob, standing again toward the rear of the stage, balanced on his feet with legs spread, throwing that left hand forward with each phrase, like a boxer jabbing, only his fingers would be spread sometimes, squinting as his phrases burst out from a deep part of his diaphragm.

The darkness descended and when the lights lifted he was at the piano to sing Lenny Bruce. One of the emotionally charged tender moments of the concert. It's a great song, though perhaps was a surprising addition to his Shot Of Love album. There were new lyrics now. On the original he sang:
Lenny Bruce is dead but his ghost lives on and on
Never did get any Golden Globe award, never made it to Synanon

Last night, however, he sang:
Never did make it to the Promised Land, never made it out of Babylon. 

When Bob sang, "I rode with him in a taxi once, only for a mile and a half but it seemed like a couple of months," he sang it with an affection you could feel.

The verses were re-arranged so that near the end of the song it sounded to me like he sang, "He's on a Christian shore, he didn't want to live any more." As opposed to the original, "He's on another shore..." The effect was mesmerizing for me, and a beautiful rendition of the song. I wrote in my notebook, "Wow. Wow. Wow."

(For more on Lenny Bruce, see: Intersections: Dylan, Lenny Bruce and a Quiet Funeral for the Beats.)

And then we had Bob back at center stage for "Early Roman Kings." I know he loves to sing the line, "I ain't dead yet. My bell still rings." In Duluth (2013) he hand a little white hanky in that left hand as he put his hand out. Last night he did that hand gesture without the hanky.

"Girl from the North Country" followed, with a huge response from the audience of Minnesotans who especially appreciate this Minnesota tribute of sorts. His piano playing was again tender. Tony played his stand-up bass with a bow, and the song ended with a big applause.

I know that "Not Dark Yet," which followed, moved quite a few of us. It was a time of meaningful reflection.

After the encore, lights went on and we made our way to the exits.

The concert's pacing was perfect as he leapt into the plundering uptempo "Thunder on the Mountain," a whomping boogie blues riff with guitar breakouts between verses and dancing down in front of the stage with solos for all. With a head signal to Tony the band did a tight wind out.

"Soon After Midnight" and a totally rockified "Gotta Serve Somebody" closed out the 17 song set, Lights out and a lengthy foot-stomping, hollering, whistling for more followed. After a suitably long pause in the noisy dark they returned for the two song encore that has been in their standard during other concerts lately. "Ballad of a Thin Man," again with guitar breaks and a harmonica solo, and "It Takes a Lot to Laugh, It Takes A Train to Cry."

Oh yeah, it was a good concert.
And thank you Zane and Miriam for getting me home safe and sound afterwards. The only thing that could have made it a better night would have been seeing Northern Lights as we headed North back to Duluth. Maybe next time.

Never Ending Tour Rolling East with Dylan Still On Track to Arrive In Minnesota Thursday

The interview went as expected. He did not say much.
Photo credit: Michael Anderson

There are two primary ways to follow what's happening in BobWorld. One is ExpectingRain.com, the essential mashup of daily news regarding Dylan and Dylan-related themes, such as the Beatles and others whose paths he's cross. The second is BobLinks.com, Bill Pagel's labor of love, meticulously chronicling the schedule, setlists and concert reviews from the Never Ending Tour (NET).

This current U.S. leg of the NET began October 11 in Irvine, California, opening with "Beyond Here Lies Nothing" from the album Together Through Life, a nod to the late Robert Hunter with whom he corroborated. Is it possible that "Beyond Here Lies Nothing" is a reference to his Never Ending Tour as well?

Playlists have been varying in small ways on this tour so that you won't know exactly what is coming. What's common throughout are the reviews. "Bob in fine form tonight" and ""Mind blowing show last night" and "This was a very strong show indeed."

The guy is 78 and it's somewhat remarkable the pace he's keeping. Five shows this week beginning in KC, then flowing upstream to St. Louis, Ames Iowa tonight, Mankato in Minnesota tomorrow and Milwaukee Saturday.

Not only do the media write about Dylan on a regular basis--cf. Bob Dylan Returns to Milwaukee (WithNothing Left to Prove) and John Huthmacher's review of the Nebraska show--but fans send in their reviews to Bill Pagel every day from the various concerts. Here are a couple of these from the BobLinks site. The current vibe has been exceptionally positive.

Issie
Oh my God. Mind blowing show last night. Probably the most satisfying and radical rearrangements of songs across an entire show since the ‘78 tour. New drummer and guitarist have inspired Bob to keep moving forward and staying fresh. The band gets in a tight groove on every song that hypnotically sweeps you right into the moment. And rather than deteriorating into an ever more raspy and gravely voice Bob’s singing is now somehow as strong live as it has been at anytime this century.

Pete Shanks
In the Frost Amphitheater at Stanford, Dylan seemed to have as much fun as the audience did. He was on excellent form, and his band is (as usual) superlative.

Naturally expectations are running high now. It will be interesting to see what happens beyond the horizon.

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Clear Lake, Iowa is just up the highway.

Today Bob and the band are in Ames, Iowa, less than an hour from the Surf Ballroom in Clear Lake where Buddy Holly played his last concert. I'd be curious if Bob has ever been out to the cornfield where the plane crashed that killed Buddy Holly, Richie Valens and the Big Bopper. In fact, there are a lot of things I am curious about, which is interesting because at one time I felt that if I ever did get a chance to interview Mr. Dylan I wouldn't know what to say. In short, it would have been me and not him who was mute.

FWIW I will be scrutinizing the setlists from this week to see if I can forecast tomorrow's setlist in Mankato.

Here's lookin' at you, kid. Painting by the author.

As with his last cross-country tour there will be a week of concerts at the Beacon in New York, followed by one last exclamation point nearby, this time Washington DC.

Here are a pair of show openers from this past week. Lookin' forward to tomorrow.

Oct 19 in Lincoln, Nebraska
1. Beyond Here Lies Nothin' (Bob center stage on guitar, Donnie on violin)
2. It's All Over Now, Baby Blue (Bob center stage on guitar,
His 17 song set ended with Gotta Serve Somebody, the song he was opening concerts with i 1998. After closing there followed a two song encore: Ballad of a Thin Man, and It Takes a Lot to Laugh, It Takes a Train to Cry.

I read these set lists in awe of how many great songs he has produced over the years.

Oct 17. His Mission Ballroom show in Denver though opened with a different pair of great songs.
1. Things Have Changed (Bob center stage on guitar, Donnie on violin)
2. It Ain't Me, Babe (Bob on piano, Donnie on violin)

Vamos a ver.

20 Years Ago Bob Dylan and Paul Simon Were On Tour Together and Shared a Stage Here in Duluth

Major coverage in one of our local rags preceding Duluth concert.

Every living artist of influence has lived through plenty of July Threes, but in seeing the stories on Expecting Rain about Brian Jones and Jim Morrison, who each died on this date in 1969 and 1971, respectively, it brought to mind the July 3 of 1999 when Bob Dylan returned to his home town of Duluth for the second time within a year, performing with Paul Simon and his band 20 years ago yesterday.

I don’t recall any reference at the time to that being the 30th anniversary of Brian Jones’ death, which is now 50 years, as noted in this story. What I do recall is how muddy Duluth’s Bayfront Park was after the hard rain, and how much fun some people had listening to the music while slip-slidin’ away. (O.K. the muck wasn’t fun for all.)

Paul Simon’s stature as a songwriter far exceeds his height as a man. His 13 song setlist was followed by a seven song encore, the last five being performed with Bob Dylan, who never looks tall but definitely made one realize how short Simon was.

On July 3 (yesterday) I picked up Robert Hilburn’s authorized bio of Paul Simon and was immediately drawn in to the story of Paul Simon’s life beginning with his ambition to be a baseball player, a passion I shared when I was young as well. Despite the shortcoming of his size, he excelled sufficiently to be a Queens all-star in high school. But lacking the “growth spurt” he’d hoped for as a teen, there was no way he could advance beyond the dream stages of this first passion.

Music, which had always been part of his life (his father performed for a living), moved in to fill the gap. And even though writing songs took more effort for Simon than for Lennon and McCartney for example, the work he produced became part of the soundtrack for our generation, expressing our hopes, anxieties and struggle to find a place for ourselves in a turbulent world.

You would think that being from New York would have given Paul Simon an edge in the influential music world there, but Hilburn’s account tells how Simon’s formative years including trips to England and busking in Paris before really getting traction at Columbia Records accompanied by Art Garfunkel.

Multiple pages were devoted to these two songwriters in their tour together.

Bob Dylan shows up in numerous sections of the book. Columbia producer Tom Wilson was one of the few execs there who supported John Hammond’s early enthusiasm for Dylan. Wilson saw Paul Simon’s potential as well. Similarly both singer/songwriters were performing at the same places in Greenwich Village. When Dylan’s Freewheelin’ was released Paul Simon was duly impressed, especially by Hard Rain’s A-Gonna Fall and the “enchanting love song that Simon liked,” Girl from the North Country.

The message that came through for Simon was just what he needed at the time. “Simon found in Dylan’s writing a natural way to blend his love of music and everything he’d learned in college about writing and the social order.” As he later acknowledged in interviews, he was liberated from having to produce pop hits, and could create music that appealed to him more thoughtfully. This is how Simon & Garfunkel’s albums became a part of so many of our lives at that time.

When Paul Simon and his ensemble joined Bob Dylan on the stage here in 1999, the song selections were especially interesting. Dylan’s setlist was heavily weighted to his Sixties songs in which he was a prophet for our times. Two songs were shared from Blood on the Tracks and two more from Time Out of Mind. Until the encore, Simon’s set only featured two songs from his Sixties recordings with Art Garfunkel. Instead he featured his international influences which most vividly emerged on his fabulous Graceland album.

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Related Links

Bob Dylan Setlist from July 3, 1999 in Bayfront Park, Duluth

This story about the death of Brian Jones appeared on Expecting Rain this morning. A daughter of Jones is claiming her father was murdered, an accusation that former crime reporter Anthony Scaduto alleged in his pointed bio Jagger: Everybody’s Lucifer.

The hard-boiled Scaduto had published a bio of Bob Dylan two years previous.

Photos on this page by the author. (except book cover).

To catch the flavor of this concert tour with Simon and Dylan, here’s a New York Times review of their concert a few weeks later in Madison Square Garden. “The Sound of Simon and Dylan.” If you don’t have time to read the story, here are two excerpts.

The two have much in common. Born in 1941, they are among the best and most expansive songwriters of their time, each with one hand firmly clasping the political and intellectual zeitgeist; they were both lifted out of the 60's Greenwich Village folk scene by Columbia Records and they are constantly reinventing their sound when their audiences least expect it. And Mr. Simon covered Mr. Dylan's ''Times They Are A-Changin' '' on the first Simon and Garfunkel album, while Mr. Dylan remade Mr. Simon's ''Boxer'' on his ''Self-Portrait.''

And two paragraphs later:
Where the cryptic Mr. Dylan is a tangled, dusty back road on which it is impossible to see more than a few feet ahead, the more transparent Mr. Simon is as obvious and scenic as a parkway. And though singing harmony is second nature to Mr. Simon, trying to harmonize with Mr. Dylan is like trying to catch a fly with chopsticks. As a result, ''The Sound of Silence'' turned from a haunting ballad to a cacophonous prophecy punctuated with a harmonica solo while ''Heaven's Door'' sounded slightly better when the two took turns singing.


Meantime, life goes on… and so is Bob’s Never Ending Tour, with shows in Germany, England and Ireland the next two weeks. You can read the reviews and other news at BobLinks.com