The Michigan Daily-Sunday, October 15, 1978-Page 7 Dylan By MIKE TAYLOR Bob Dylan has written more good songs than anyone else in popular music-songs like "Like a Rolling Stone," "It Ain't Me Babe," and "All Along the Watchtower," songs that leave you in awe, begging for more.. Each new Dylan LP is treated as an 'event in the music community, even if it's an over-wrought clunker like Street- Legal or Self Portrait. Until recently, that is until Friday evening, when I saw him at Olympia in Detroit, I thought Dylan had a fine sen- se for rock'n'roll. After all, it was he who helped electrify folk music, revolutionizing rock music in general, he who was kicked out of the Newport Folk Festival in 1965 for playing with electric instruments, he who toured triumphantly a year later with the Band, he who toured just as triumphan- tly with the Band eight years later, he who led that rock'n'roll circus called the Rolling Thunder Revue. BUT FRIDAY NIGHT Dylan had the same clumsy band he used on Street- Legal with him. He put on a two-and-a- half hour, 24-song show that was so slick, so lifeless that I had to wonder if he wasn't headed for a week in Vegas at the end of the tour. He did songs from almost all of his albums, but for the most part he did them as showl tunes rather than rock'n'roll songs. For someone unfamiliar with Dylan's music, the show must have been quite a treat. That's the only way I can explain the intense applause that followed each song. But for anyone who loves Dylan, it was a nightmare. For years, pop stylists have destroyed Dylan's art with flippant, insincere renditions of his classics; Friday night, Dyland was doing it himself. brings a bit o' Vegas to Detroit it had nothing much to say. "All Along the Watchtower" was butchered by David Mansfield's electric fiddle and Steve Douglas' flute. And "All I Really Want to Do" was so bouncy I was sur- prised when Lawrence Welk failed to enter stage left. But it was not all terrible. A reggae version of "One More Cup of Coffee" had it all over the original, but then I've never liked that song. "Masters of War" was almost heavy-metal in its at- tack, which might have offended some genuine folkies in the audience, but I liked its renewed strength. "It's Alright, Ma (I'm Only Bleeding)" was so exciting as a rock song that it made me wonder why the band was unable to kick it out on the rest of the songs. "I wrote this song a few years back for one of my babies," said Dylan as he moved into the finale, a graceful "Forever Young." The encore was "Changing of the Guards," Streeta Legal's merriest number. It wasn' hard to digest. I left the show feeling angry and con fused, upset that an artist I've admirec for years, even worshipped at times had put on such a flatulent show. Wassi' age, or just poor taste? Well, maybe next time. Me, I've got my finger crossed. I.i 2 5% off EVERYTHING in our South University Centicore Bookshop 1229 S. Univ. Daily Photo by JOHN KNOX Bob~ Dylan with band members and back-up singers at Olympia Stadium Friday night. SHE STOOPS To CONUER. 1 "li itriiig XXII.I.I.1N1I.IIQACI The show opened with an instrumen- tal version of "My Black Pages." Clearly designed to show off the band, everyone, including Steve Douglas on sax and Billy Cross on lead guitar, got solos. But the playing was cold and rigid. No wonder! One look at the musicians' faces showed they'd rather be somewhere else. And this was only the first song! AS THE SONG drew to a close, Dylan, accompanied by three back-up singers, strode to the stage and kicked into an abyssmal version of Muddy Waters' "I'm Ready." Not quite the blues, not quite rock, it just sounded stiff. Next up was "Is Your Love in Vain?" a pleasant enough tune from Street-Legal. "Shelter from the Storm" started out well, but as soon as the back-up singers came in all was lost; it sounded artificial. Although I didn't hear anyone, I bet many folks cried inside when Dylan un- veiled his 1978 version of "Tangled Up in Blue." Dylan had slowed down the tempo, and abandoned the original melody. The result? An ineffectual tor- ch song. A jaunty new arrangement of "Ballad of a Thin Man" was easier to take, but it was still hopelessly super- ficial compared to the original cut and the live version on Before the Flood. The next three numbers made me wonder what had happened to Dylan's rhythm. "Maggie's Farm," "Like a Rolling Stone," and "I Shall be Released" somehow managed to sound sloppy and slick at the same time. The tension, the power all three once had never made - it through the obese arrangements each was burdened with. THE BAND LEFT Dylan alone to sing "It Ain't Me Babe," but he sang the words without any evidence of sin-. cerity. "Girl From The North Country" and "Blowin' in the Wind" had a peaceful quality to them, but still Dylan was unable to convince me he was doing anything more than going through the motions. A new song, "Renardo's Stepchild," sounded no stronger than any of the material on Street-Legal. "Where Are You Tonight? (Journey Through Dark Heat)" was pretty, but like the original, Tickets on Sale! d.-St., ( ct. 18-21, S-i., Oct. 22, ' ' 81m 2PIIM ThI K' 1IN sit yof Michigan 1 l'R )ISSi( )ll l c11 ' Ie Prgra it G st AmIist ScI'ics BONN l- (i i cr Tickets at the P.T.P. Box Office in the Michigan League (313) 764-0450 and through all Hudson's Stores U AMullen & C O rowel Ct, 4-29 Work in Washington, D.C! 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