Bob Dylan
Bob Dylan: the 30th Anniversary Concert Celebration

THE REVIEW

On October 16, 1992, an impressive array of beautiful names from the world of rock gathered at Madison Square Garden in New York for an event broadcast live by televisions across much of the planet, later captured on a double videotape and a double CD: the 30th anniversary of the release of Bob Dylan's first album. Great rock stars, whether friends or not of the great minstrel of Duluth, gathered to create a gigantic festival that lasted well over four hours, with the best moments captured on the aforementioned media. I'll talk about the CD since I have that.

The accompanying band is quite respectable (the Blues Brothers Band with Donald "Duck" Dunn and G. E. Smith, among others). The whole thing kicks off with John Cougar Mellencamp who delivers two excellent rock-blues versions of "Like A Rolling Stone" (never easy to do a great version of this track, let's remember that, such is the magnitude of the original), with two backing singers with amazing voices, and "Leopard-Skin Pill-Box Hat."
The live show also has some weak points and one comes right after Kris Kristofferson's introduction: it's an awful and lengthy version of "Blowin' In The Wind" presented by an unlikely Stevie Wonder. Lou Reed then gets the concert back on track with a wonderful "Foot Of Pride", perhaps a bit long, but very vigorous and rough.
Another great performance comes from two members of Pearl Jam, singer Eddie Vedder and guitarist Mike McCready, performing acoustic, who revive a song that is still tragically relevant even after forty years: "Masters Of War."
Tracy Chapman also appears solo with her acoustic guitar, presenting "The Times They Are A-Changin', a version that doesn't particularly move me; then hats off to the great Johnny Cash who, accompanied by his wife June Carter, performs the song whose lyrics he reportedly wanted engraved on his tombstone: "It Ain't Me, Babe" (I'm Not the One, Babe), pure country.
The concert continues brilliantly with Willie Nelson who literally makes one of the masterpieces of "Oh Mercy" his own, namely "What Was It You Wanted", with amazing harmonica inserts.
Kris Kristofferson, on the other hand, gives yet another proof of being much better as an actor than as a country singer, "I'll Be Your Baby Tonight" comes across as quite listless and forced.
Then the fire returns to smolder on the Madison stage: albino guitarist Johnny Winter arrives, and here there's no question, it’s galloping rock-blues pushed to the extreme, one of the most powerful "Highway 61 revisited" ever heard.
Ronnie Wood is also in great shape, launching into a "Seven Days" full of guitar solos worthy of him, a song that was written by Bob specifically for Woody (year 1975).
Then there’s a moment of pure poetry. For many, the name Ritchie Havens is only associated with Woodstock '69, few remember that he is a great acoustic guitarist with an inimitable style, and this is evidenced by his poignant "Just Like A Woman".
After this emotion, comes one of the weakest moments of the concert, a country section with the Clancy Brothers and Rosanne Cash with two other daughters, which leaves much to be desired.
After the shameful protest by the audience against Sinead O'Connor ("guilty" a few days earlier of some unfriendly remarks about Pope John Paul II), who was PREVENTED from singing "I Believe In You" (always "democratic" these Americans), the great Neil Young takes the stage, dazzling in "Just Like Tom Thumb's Blues" and "All Along The Watchtower", which since then would become one of his live staples.
Also excellent is the performance by Chrissie Hynde, for once without the Pretenders, who sings and plays "I Shall Be Released" beautifully; then there is one of the best Eric Clapton moments of the last 20 years. His bluesy version of "Don't Think Twice, It's All Right" is exceptional and grabs you from the first listen.
Not very significant are the O'Jays, as is the song they perform, "Emotionally Yours".
The Band (sans Robertson) then takes the stage to perform a piece that was included in "Music from Big Pink, the historic 1968 album, and delivers a heartfelt version of "When I Paint My Masterpiece".
Even George Harrison does not miss out on this spectacle and delivers a good "Absolutely Sweet Marie". Then it's Tom Petty and the Heartbreakers' turn (who had already accompanied Dylan on the 1986 tour) with two not-too-relevant pieces, "License To Kill", a good song from the album "Infidels", but here a bit dull, and "Rainy Day Women # 12&35" (never liked).

But the real weak point of this concert, sorry to say, was Bob Dylan himself. Probably drunk and clearly out of phase, he ventured onto the stage to perform two songs, one of which wasn’t even included on the CD ("Song to Woody"), showing just how low the level of his performance was, and one just barely decent, "It's All Right Ma (I'm Only Bleeding)" (because with this song it’s almost impossible to sing off-key). He was also close to ruining the final jam session with all the artists on stage playing and singing (in their own way, well) "My Back Pages" and "Knockin' On Heaven's Door", but here at least it was possible to intervene in the studio to correct and erase Bob’s evident off-key moments. It's possible to have an off night, but for it to happen just when all your friends honor and celebrate you, is quite severe. No offense, Bob, I'll come see you again.