Bob Dylan in concert - Oct 17, 2006 @ the Bill Graham Civic Auditorium

Concert: Bob Dylan
Location: Bill Graham Civic Auditorium
Date: Tuesday, Oct 17, 2006

Finally, we got to see the weird voiced genius, live and upclose, at the Bill Graham Civic Auditorium, up in San Francisco. Having listened to his Tamburine-man like a million times, Preetu and I bought the tickets on Ticketmaster (their surcharges suck!!), and we drove up to the city on a cold tuesday night, arriving well before the concert started. 90% of the crowd were hippies, and belonged to the age group of 40-70. And you would imagine that would prevent the guys from lighting up their pipes and smokes.. well, we were in for a shock! There was so much pot that we were dizzy even before the opening act got done!!

Here is the article on the SanJoseMercuryNews:

Dylan keeps it rolling with old-new mix
HIS VOICE, HARMONICA SOLOS AND BAND ARE IN FINE FORM, BUT HIS GUITAR IS MISSED
By Shay Quillen
Mercury News

* Tony Hicks: Dylan's as engaging, and elusive, as ever

The 6-foot-11 Bob Dylan fan standing next to me dubbed the show ``phenomenal.''

And basketball great Bill Walton wasn't the only one in the near-capacity crowd at San Francisco's Bill Graham Civic Auditorium who felt that way.

Dylan, fresh off the overwhelming critical and popular success of his recent ``Modern Times'' CD, showed Monday that he's still got a lot to offer as a live performer.

From the opening number, an unexpected ``Lenny Bruce'' (perhaps in honor of the late comedian's birthday, Oct. 13), Dylan and his band kept fans on their toes with some surprising selections from the songbook, excellent new material and bold rearrangements of familiar tunes.

As in recent years, Dylan spent the whole evening playing organ sounds on an electronic keyboard. He didn't touch a guitar, although he did pull out his harmonica for several of his distinctively primitive solos.

Dylan was backed by a solid five-piece band consisting of longtime bassist Tony Garnier, drummer George Recile, lead guitarist Denny Freeman, rhythm guitarist Stu Kimball and utility man Donnie Herron, formerly of BR549. Like Dylan, all were dressed in black and were wearing black hats, except Herron, who was sporting a David Spade-esque coiffure.

This quintet has coalesced into a tight unit over 18 months on the road, and big showbiz endings on several tunes showed that some effort went into the arrangements.

Not everything worked. ``It's All Right, Ma (I'm Only Bleeding),'' for example, was nearly unrecognizable; the song's torrent of words was chopped up into awkward, rushed phrases that had little to do with the music.

But more often than not, the older songs sounded fresh, and Dylan seemed committed to the material and in sync with his band.

The rarely performed ``Señor'' was a pleasant surprise, and Dylan's first harmonica solo of the night was greeted warmly. ``I'll Be Your Baby Tonight'' sounded great as a nice and easy country shuffle with plenty of pedal steel by Herron. A tough, no-nonsense ``Highway 61 Revisited'' had the fans fired up.

But it wasn't all about the oldies. This show was also the first chance for Bay Area fans to hear material from the acclaimed "Modern Times'' album, and Dylan didn't disappoint, playing four songs from the album.

"When the Deal Goes Down,'' a heartfelt waltz with Dylan doing his best old-fashioned croon, was a high point, as was "Workingman's Blues #2,'' Dylan's ruminations on a theme from Merle Haggard.

Although non-Dylan fans might find the distinction difficult to make, those who had seen Dylan in recent years agreed that he was in fine voice Monday. Despite his voice's obvious limitations, he was putting the songs across well.

Still, it was regrettable that he has totally given up on the guitar. When he first emerged out of his extended creative funk in the mid-'90s, his electric guitar explorations gave the artist another ``voice'' through which to express himself. His organ accompaniment just doesn't have the same impact.

After a closing ``Summer Days,'' a song from 2001's ``Love and Theft'' delivered like something out of a 1950s roadhouse, the band left the stage without a word from Dylan, before returning for a three-song encore.

``Thunder on the Mountain'' from the new album was followed by a rather low-key ``Like a Rolling Stone,'' after which Dylan spoke for the first time, introducing the band.

``All Along the Watchtower,'' pitched about halfway between the original arrangement and Jimi Hendrix's souped-up version, ended the night in style.

At the show's end, Dylan and the band stood at the lip of the stage and accepted the crowd's ovation. Dylan, typically, didn't say a word, didn't wave and didn't smile.

The acoustics at the Bill Graham Civic often are maligned, but the sound was quite good throughout the evening, both for the full-tilt rock of openers Kings of Leon and for the more refined sounds of Dylan and his band.

Roger Waters in concert - Shoreline Amphitheater, Oct 10, 2006

Concert: Roger Waters
Location: Shoreline Amphitheater
Date: Tuesday, Oct 10, 2006

Purchasing the tickets 6 months ahead of time, we headed out to watch Pink Floyd, sans David Gilmour, at the Shoreline Amphitheater. A soldout show this was, with hardly any breathing space. 50,000 or more Floyd fans, from all age groups, lined up to watch the ageing star Roger Waters on stage. A fabulous show it was!

A review from insidebayarea.com:

Roger Waters takes fantastic trip to the 'Moon'
By Jim Harrington, STAFF WRITER
Article Last Updated:10/11/2006 03:15:40 PM PDT

Roger Waters performs at the Shoreline Amphitheatre in Mountain View, Calif. on Tuesday, October 10, 2006. (Ron Lewis - Staff )


It was a sight I'd never seen before and one that I doubt I'll ever be fortunate enough to see again — 20,000 people listening to their all-time favorite album being performed live onstage.

The record was Pink Floyd's 1973 masterpiece, "Dark Side of the Moon," considered by most to be one of the crowning achievements in rock history. It stands tall next to the Beatles' "Sgt. Pepper's Lonely Hearts Club Band" or Led Zeppelin's fourth album or the Beach Boys' "Pet Sounds" or, really, any classic disc you want to mention.

"Dark Side" was both a commercial and artistic success of nearly unequaled magnitude. It spent a record 741 consecutive weeks on the album charts and sold more than 20 million copies. It also likely spurred more dorm-room discussions over bubbling lava lamps than any other single album.

Thirty-three years after its release, "Dark Side" obviously hasn't lost one iota of its appeal. The capacity crowd that turned out to see former Pink Floyd mastermind Roger Waters re-create the album in its entirety Tuesday night at the Shoreline Amphitheatre in Mountain View was the largest the venue has seen in 2006.

Many of the fans had waited decades for this occasion. Once they arrived at the Shoreline, Waters made them wait a little longer before rocketing off to the "Dark Side." The album, performed from start to finish and nearly note for note, constituted the singer-bassist's second set.

The first half of the show was dedicated to other highlights of Floyd's mighty catalog and Waters' solo material.

The image that greeted fans was of an antique radio shown on a big screen at the back of the stage. It remained static while the crowd members found their seats. Then, suddenly, a hand came into the picture and began fiddling with the knob, resting for bits of Elvis Presley and Chet Baker. The dial was adjusted one more time and Waters and his 10-piece band launched into the traditional opener, "In the Flesh?"

The tune, originally found on 1979's "The Wall," was full of so much Wagnerian drama and power that classic rock fans couldn't help but scratch their heads and wonder why they don't make music like they used to back when Floyd ruled the earth. That unanswered question remained relevant throughout the evening.

Sticking with "The Wall," Waters sung and strummed acoustic guitar through a moving take on "Mother." He then unfurled his freak flag and waved it in the air on a highly psychedelic version of the comparatively obscure "Set Your Controls for the Heart of the Sun" from 1968's "A Saucerful of Secrets."

The biggest concern was over Waters' ability to compensate for the absence of David Gilmour, the Pink Floyd axe man who juiced up so many of the band's best numbers with amazingly passionate leads. Wisely, he put our worries to rest by having his two electric guitarists, Dave Kilminster and Snowy White, stick as close as possible to Gilmour's original efforts on such tunes as "Mother," "Shine On You Crazy Diamond" and "Have a Cigar."

Following solid versions of "Southampton Dock" and "The Fletcher Memorial Home" from Floyd's hugely undervalued 1983 effort "The Final Cut," Waters began to stumble a bit as he dragged fans through some politically charged solo material from 1992's "Amused to Death" and the awkward new song "Leaving Beirut."

He recovered nicely by closing the first set with a powerful rendition of "Sheep" from 1977's "Animals," which opened the door for Floyd's most famous mascot, the huge flying pig, to take to the air above the crowd.

After a short break, Waters and company returned and began playing a version of "Dark Side" that sounded so close to the original album that it was downright eerie. The crowd first sat in rapt attention, barely singing along to songs they all know by heart, as the band opened with "Speak to Me," "Breathe in the Air" and "On the Run." Later, fans leapt to their feet as backup singer Carol Kenyon took center stage and delivered a true vocal clinic on a mesmerizing "The Great Gig in the Sky."

On disc, "Dark Side" lasts some 43 minutes. It probably lasted roughly that same length in concert. Yet it doesn't feel that way. It feels much shorter; Waters put the finishing touches on the masterwork with "Brain Damage" and "Eclipse" well before the audience was ready.

If there had been a repeat button, these fans would have pushed it.

Waters returned with a five-song encore taken entirely from "The Wall," the album that competes most fiercely with "Dark Side" in fans' hearts. The music sounded grand and triumphant, so unlike anything being released today, as Waters pushed his band through "The Happiest Days of Our Lives," "Another Brick in the Wall (Part II)," "Vera," "Bring the Boys Back Home" and "Comfortably Numb."

In all, it was a magical night of music — one these fans may never be fortunate enough to experience again. The closest they may come is when the acclaimed Australian Pink Floyd performs Oct. 25 at the Paramount in Oakland and Oct. 26 at the San Jose Civic.

Those shows won't measure up to the experience of "Dark Side of the Moon" — but, then again, nothing does.

Roger Waters in concert - Shoreline Amphitheater, Oct 10, 2006

Purchasing the tickets 6 months ahead of time, we headed out to watch Pink Floyd, sans David Gilmour, at the Shoreline Amphitheater. A soldout show this was, with hardly any breathing space. 50,000 or more Floyd fans, from all age groups, lined up to watch the ageing star Roger Waters on stage. A fabulous show it was!

A review from insidebayarea.com:

Roger Waters takes fantastic trip to the 'Moon'

By Jim Harrington, STAFF WRITER

Article Last Updated:10/11/2006 03:15:40 PM PDT

It was a sight I'd never seen before and one that I doubt I'll ever be fortunate enough to see again — 20,000 people listening to their all-time favorite album being performed live onstage.

The record was Pink Floyd's 1973 masterpiece, "Dark Side of the Moon," considered by most to be one of the crowning achievements in rock history. It stands tall next to the Beatles' "Sgt. Pepper's Lonely Hearts Club Band" or Led Zeppelin's fourth album or the Beach Boys' "Pet Sounds" or, really, any classic disc you want to mention.

"Dark Side" was both a commercial and artistic success of nearly unequaled magnitude. It spent a record 741 consecutive weeks on the album charts and sold more than 20 million copies. It also likely spurred more dorm-room discussions over bubbling lava lamps than any other single album.

Thirty-three years after its release, "Dark Side" obviously hasn't lost one iota of its appeal. The capacity crowd that turned out to see former Pink Floyd mastermind Roger Waters re-create the album in its entirety Tuesday night at the Shoreline Amphitheatre in Mountain View was the largest the venue has seen in 2006.

Many of the fans had waited decades for this occasion. Once they arrived at the Shoreline, Waters made them wait a little longer before rocketing off to the "Dark Side." The album, performed from start to finish and nearly note for note, constituted the singer-bassist's second set.

The first half of the show was dedicated to other highlights of Floyd's mighty catalog and Waters' solo material.

The image that greeted fans was of an antique radio shown on a big screen at the back of the stage. It remained static while the crowd members found their seats. Then, suddenly, a hand came into the picture and began fiddling with the knob, resting for bits of Elvis Presley and Chet Baker. The dial was adjusted one more time and Waters and his 10-piece band launched into the traditional opener, "In the Flesh?"

The tune, originally found on 1979's "The Wall," was full of so much Wagnerian drama and power that classic rock fans couldn't help but scratch their heads and wonder why they don't make music like they used to back when Floyd ruled the earth. That unanswered question remained relevant throughout the evening.

Sticking with "The Wall," Waters sung and strummed acoustic guitar through a moving take on "Mother." He then unfurled his freak flag and waved it in the air on a highly psychedelic version of the comparatively obscure "Set Your Controls for the Heart of the Sun" from 1968's "A Saucerful of Secrets."

The biggest concern was over Waters' ability to compensate for the absence of David Gilmour, the Pink Floyd axe man who juiced up so many of the band's best numbers with amazingly passionate leads. Wisely, he put our worries to rest by having his two electric guitarists, Dave Kilminster and Snowy White, stick as close as possible to Gilmour's original efforts on such tunes as "Mother," "Shine On You Crazy Diamond" and "Have a Cigar."

Following solid versions of "Southampton Dock" and "The Fletcher Memorial Home" from Floyd's hugely undervalued 1983 effort "The Final Cut," Waters began to stumble a bit as he dragged fans through some politically charged solo material from 1992's "Amused to Death" and the awkward new song "Leaving Beirut."

He recovered nicely by closing the first set with a powerful rendition of "Sheep" from 1977's "Animals," which opened the door for Floyd's most famous mascot, the huge flying pig, to take to the air above the crowd.

After a short break, Waters and company returned and began playing a version of "Dark Side" that sounded so close to the original album that it was downright eerie. The crowd first sat in rapt attention, barely singing along to songs they all know by heart, as the band opened with "Speak to Me," "Breathe in the Air" and "On the Run." Later, fans leapt to their feet as backup singer Carol Kenyon took center stage and delivered a true vocal clinic on a mesmerizing "The Great Gig in the Sky."

On disc, "Dark Side" lasts some 43 minutes. It probably lasted roughly that same length in concert. Yet it doesn't feel that way. It feels much shorter; Waters put the finishing touches on the masterwork with "Brain Damage" and "Eclipse" well before the audience was ready.

If there had been a repeat button, these fans would have pushed it.

Waters returned with a five-song encore taken entirely from "The Wall," the album that competes most fiercely with "Dark Side" in fans' hearts. The music sounded grand and triumphant, so unlike anything being released today, as Waters pushed his band through "The Happiest Days of Our Lives," "Another Brick in the Wall (Part II)," "Vera," "Bring the Boys Back Home" and "Comfortably Numb."

In all, it was a magical night of music — one these fans may never be fortunate enough to experience again. The closest they may come is when the acclaimed Australian Pink Floyd performs Oct. 25 at the Paramount in Oakland and Oct. 26 at the San Jose Civic.

Those shows won't measure up to the experience of "Dark Side of the Moon" — but, then again, nothing does.