Dylan, Elvis, Pittsburgh, Pennsylvania Oct.11 '07

Pretty self-explanatory
johnfoyle
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Dylan, Elvis, Pittsburgh, Pennsylvania Oct.11 '07

Postby johnfoyle » Mon Oct 08, 2007 3:09 pm



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And No Coffee Table
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Postby And No Coffee Table » Fri Oct 12, 2007 11:01 am

Setlist from the wiki site:

01. (The Angels Wanna Wear My) Red Shoes
02. Crimes Of Paris
03. Either Side Of The Same Town
04. Veronica
05. The River In Reverse - including lines from I Don't Want To Be A Soldier and Broken Promise Land
06. My Name Is Eve
07. From Sulfur To Sugar Cane
08. Alison
09. Radio Sweetheart / Jackie Wilson Said
10. (What's So Funny 'Bout) Peace, Love And Understanding?
11. The Scarlet Tide

The last performance of "Crimes of Paris" before this one was March 30, 1995 — when Elvis was opening for Dylan.

http://www.elviscostello.info/wiki/inde ... 1995-03-30

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BlueChair
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Postby BlueChair » Fri Oct 12, 2007 11:09 am

Possibly a Dylan favourite?
This morning you've got time for a hot, home-cooked breakfast! Delicious and piping hot in only 3 microwave minutes.

johnfoyle
Posts: 14141
Joined: Wed Jun 04, 2003 4:37 pm
Location: Dublin , Ireland

Postby johnfoyle » Fri Oct 12, 2007 2:19 pm

http://www.pittsburghlive.com/x/pittsbu ... 32299.html

Dylan, Costello 'occasionally transcendent' at Petersen Events Center

By Regis Behe

TRIBUNE-REVIEW
Friday, October 12, 2007

After Elvis Costello ripped through a brilliant acoustic set last night at the Petersen Events Center -- including intense, moving versions of "Crimes of Paris," "Radio Sweetheart," "Alison" and "(What's So Funny 'Bout) Peace, Love and Understanding," it would have been understandable if the rest of the evening was anti-climactic. Costello at his best is peerless, and given the headliner's reputation for uneven performances, there could have been a severe drop-off in terms of quality.

But a lesson was learned: Never, ever count out Bob Dylan, who played the second half of last night's double bill.

Occasionally transcendent, Dylan and his five-piece backing band hit a comfortable groove from the opening notes of "Rainy Day Woman #12 & 35" and never let up.

Of course, these were not letter-perfect versions, and Dylan's vocals are not as much sung as they are spit out in quick, emphatic bursts. But last night, at least, there was something utterly compelling about his demeanor and presence -- taciturn, serene even -- as he led the group through oft-times twisted reinventions of his works.

There was the lilting, up-tempo version of "It Ain't Me Babe," the Bob Wills-inspired "Summer Days," a darkly-hued "Ballad of a Thin Man" and "Highway 61 Revisited" sounding like it was dosed with Z. Z. Top.

"Workingman's Blues #2" and "Things Have Changed" were also compelling, but if you had to single out one song to hear again, it was "Nettie Moore," with Dylan's elegant reading of its quiet, graceful lyrics.

Regis Behe can be reached at rbehe@tribweb.com or 412-320-7990.



http://www.post-gazette.com/pg/07285/824911-388.stm

Dylan showcases his new strengths; Costello a powerhouse open

Friday, October 12, 2007

By Scott Mervis, Pittsburgh Post-Gazette

About a decade or so ago, Bob Dylan used to put out albums and then arrive in concert seemingly oblivious to the fact that he had new songs at his disposal.

But things have changed (don't they always with Dylan?).

Now, he's virtually flipped in the opposite direction. Thursday night at the Petersen Events Center, Dylan was very much in tune with "Modern Times," his 2006 record that topped the charts and critic polls.

It made for a show that went light on his brilliant back pages and heavy on the jazzy Western swing and rollin', tumblin' blues he currently fancies.

First, though, came sets by Amos Lee, a young singer-songwriter for the Starbucks generation who acquitted himself nicely, and the great Elvis Costello. It's not clear exactly why a Hall of Famer like Costello is tooling around as an opening act, but you'll get no complaints here, aside from the abbreviated set time.

Touring solo for the first time in 12 years, Costello delivered his typical powerhouse set starting with "The Angels Wanna Wear My Red Shoes," played on an acoustic guitar that brayed like an electric. Costello had a mike, but he could have sung without one -- and did step away from it a few times while still projecting across the Petersen floor.

His voice is an amazing instrument that only gets stronger and more versatile with age, and he's just as passionate as he was when he turned up in '77, whether he was belting out "Crimes of Paris," singing about his grandmother in "Veronica" or pleading for sanity on "(What's So Funny 'Bout) Peace, Love and Understanding."

It seemed like he had to win over Dylan's crowd, which is a fairly inexplicable situation given not only his stature but the clear influence derived from the headliner (the conservative-looking woman next to me was holding her ears!). The sluggish crowd did warm up as Costello engaged them with "Radio Sweetheart" seguing into a sing-along of Van Morrison's "Jackie Wilson Said." Among the many highlights (actually every song was a highlight) were two newer tracks, "The River in Reverse" and "The Scarlet Tide," a piece about a war widow that drew cheers with the words "admit you lied, and bring the boys back home."

Elvis Costello is a tough act to follow, and only a few would, could or should dare. Dylan hit the stage with three guitars, one of them his, unraveling the opening of "Rainy Day Women #12 & 35." Mr. D hasn't been here in two years, and it wasn't a big surprise, with the man doing a hundred shows a year, that the voice has gotten even more low and sandpapery. He compensated with that halting start-and-stop delivery that scoots around the melodies like a tennis player avoiding the backhand. (I'm officially proposing two gospel singers with him next time.)

Dylan stayed on guitar through so-so versions of "It Ain't Me, Babe" and "Watching the River Flow," offering a few noodling solos, then switched to piano and left the heavy lifting to Denny Freeman, who dazzled with any number of styles. After a stabbing "Love Sick" and a "Tangled Up in Blue" that sounded like a different song than the one on "Blood on the Tracks," the show went into a slow swing mode and lost some momentum with a string that included a poignant "Workingman's Blues #2" and plodding versions of "Beyond the Horizon" and "Spirit on the Water" that were way too close together.

"You think I'm over the hill/you think I'm past my prime," Dylan sang on the latter, to a round of cheering that we're going to have to chalk up as ambiguous.

The folks who came for the classic tracks got a "Highway 61" that rocked hard and wild, and that classic ode to paranoia, "Ballad of a Thin Man," guitar-driven despite Dylan being right there on keyboards. The always-swinging "Summer Days" got people up and moving and the encores of "Thunder on the Mountain" and "All Along the Watchtower" were both driven by thunderous blues jams. If there was anything resembling a perfect moment for me, it was an emotional reading of "Nettie Moore" that seemed to mirror the dreary atmosphere of the fall day.

All told, it was hardly a Dylan show for the ages -- and there will no doubt be hundreds of people grumbling today about the voice or the set list -- but on the Never-Ending Tour you take the highs with the lows and the in-betweens.

Scott Mervis can be reached at

smervis@post-gazette.com
or 412-263-2576.


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