Bob Dylan and Willie Nelson Concert Poster
A while back Bob Dylan toured with Merle Haggard and I heard those shows were amazing. However, these shows he did with Willie Nelson and John Mellencamp in the summer of 09 topped even that.
A must have poster for any Bob Dylan or Willie Nelson fan.
Bob Dylan, Willie Nelson and John Mellencamp
2009 Summer Minor League BallPark Tour Poster for the Pawtucket Concert
Size 11 x 17 Inches (28 x 43 cm) Flyer Size
LOW INVENTORY ITEM, (One Left), It may be pulled for auction if it does not sell by midnight >>> 9 hours 38 minutes 7 seconds << Act now to OWN this
This Bob Dylan Willie Nelson Poster available on Amazon
Bob Dylan is 71, and on latter concert trips, time appeared to be catching up with him. The voice has weakened steadily, he refrains from the guitar and can seem cranky, if not hostile. Despite playing to a two-thirds-full United Center on Friday, he played without video screens to bring the action closer to the folks in the balconies. Thanks Bob.
Dylan mustered his “A” game for this concert, or as close to “A” as he could get anymore. No, the voice has not all of a sudden went through an improvement. He was singing with even more spirit and clearness than I ‘d heard in years. He opened with a fierce blues important variation, leading his fracture six-piece band on guitar. He settled in behind a grand piano, and the real action started.
Dylan has actually mostly been constraining himself to electric keyboards on recent tours, and his contributions on the instrument have actually been muted, if not inaudible. On the piano, Dylan was a force. Numerous of the songs were reconfigured in a method that spots Dylan’s voice and hands directly at the center, and his playing was extraordinary– a dollop of barrelhouse boogie, some sanctified gospel chords and an entire lot of Mose Allison-style blues-based improvisation and decoration.
Early on, opener Mark Knopfler abetted the guitar front line of Charlie Sexton and Stu Kimball, embroidering Dylan’s piano on “To Ramona” and jaunty harmonica on “Things Have Changed.” Dylan accepted his guest, pointing his handgun finger at Knopfler to indicate an additional solo. The singer, legs splayed and leaning back, looked ready to bust out a couple of dance moves on “Tangled Up in Blue.” As the track wound down, he relocated to piano and brought it to a rollicking close– you can feel the energy level lift. Dylan wore a flamenco hat in memorial to “Blind Willie McTell” and brought the tune surging back to life twice with his harmonica solos.
When Knopfler exited, Dylan recovered his “To Make You Feel My Love” from Adele, a tip of vibrato exposing the slimness of his voice even as it highlighted the song’s susceptability.
Drummer George Recile– a monster all night with his steady-rolling river of groove– and bassist Tony Garnier locked into “The Levee’s Gonna Break,” and the program found its footing. Dylan turned his piano into an orchestra: rumbling, jazzy dissonance; terse counterpoint fills beneath his vocals; thundering gospel chords as prelude to spider-walking flourishes with both hands. At the same time, he destroyed the rather lukewarm studio version of the song on the 2006 “Modern Times” album.
Likewise, he turned the piano into the foundation of a retooled “Desolation Row” and fed a ferocious “Highway 61 Revisited” and a barreling “Thunder on the Mountain” with percussive left-hand bass lines. Just “Like a Rolling Stone” went over as a little flat in its new arrangement, though not for absence of trying– at one point, Dylan injected the classic with a reggae ambiance.
Not everyone most likely valued how Dylan tampered with his classics. By now it needs to be noticeable to anybody who has followed Dylan’s career that the singer may not stay for life young so much as forever restless. On this trip, he’s exposed himself to be a room-wrecking piano gamer, equally at house in the watering hole or the church.
Bob Dylan is 71, and on current tours, time appeared to be catching up with him. On the piano, Dylan was a force. Many of the tracks were reconfigured in a means that places Dylan’s voice and hands directly at the center, and his playing was extraordinary– a dollop of barrelhouse boogie, some sanctified gospel chords and an entire lot of Mose Allison-style blues-based improvisation and decoration.
Dylan wore a flamenco hat in memorial to “Blind Willie McTell” and brought the song rising back to life twice with his harmonica solos.
Dylan turned his piano into an orchestra: rumbling, jazzy dissonance; terse counterpoint fills underneath his vocals; thundering gospel chords as prelude to spider-walking flourishes with both hands.
Hey there Bob Dylan, What’s happening?
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