I’m not sure if a live concert can get any better than this one. The
sound quality was excellent, the guitar work of Tony and Larry just
amazing and Bob’s piano work really does add new colour. I feel George is far too busy as a drummer and there were times when both Bob and Tony seemed to be trying to communicate to him how the songs should go. Billy does not have the finesse of Charlie but hopefully he will listen to what is happening and develop. Anni DiFranco referred to Mr Dylan and his killer band, how good would this band be with Garth Hudson on organ?
~Les Memory (boblinks.com)
Westpac Trust Entertainment Centre
Christchurch, New Zealand
26 February 2003
Bob Dylan (vocal & guitar)
Bill Burnette (guitar)
Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar)
Suddenly, unbelievably, the residency was approaching its end. We had reached the encores of the last show. Each passing moment was becoming ever more precious.
A strong version of the acoustic classic “It Ain ‘t Me, Babe” opened the encores. This had grown into one of his most bonding live songs: both singer and audience aware of the irony of greeting its lyrics of denial with such a rapturous reception.
The traditional “Hang Me, Oh Hang Me” (aka. “I’ve Been All Around The World” or “The Blue Ridge Mountains”) was sung by Dylan in a throaty but deeply satisfying growl. Deep bass lines and simple guitar strokes lent gravity. For a man who had been criss-crossing continents for the past five years, the sentiments of “Lord, Lord, I’ve been all around this world” seemed fitting. A hush came over the hall. It was one of the most perfect moments of my life.
Then a blistering, rip-the-paint-off-the-walls “Highway 61 Revisited” brought the whole thing to a rousing, exhausting finish. It was a long time before many of us left the hall , so reluctant were we to leave the scene of our extraordinary experience.
~Andrew Muir (One More Night: Bob Dylan’s Never Ending Tour)
The importance of identifying Bob Dylan as a performing artist, as distinct from the popular perception that he’s a songwriter and recording artist, is immediately clear when one has a chance to hear his fall 1979 concerts. “What Can I Do for You?,” “Solid Rock,” “Saving Grace,” “Covenant Woman” and “In the Garden” as performed at these shows are some of the finest works in Dylan’s oeuvre, but you’d never know that from listening to Saved, the 1980 studio album that features these compositions.
-Paul Williams (Bob Dylan: Performing Artist, Vol 2: The Middle Years 1974-1986)
Suddenly, unbelievably, the residency was approaching its end. We had reached the encores of the last show. Each passing moment was becoming ever more precious.
)