Just like a Dylan

The concert began just about on time when a 7-piece band took the stage, along with 3 lady vocalists, and did an instrumental warm-up which sounded like "A Hard Rain's A-Gonna Fall". The choice of tune was probably insignificant, but perhaps not, for if "Hard Rain" is the loosest album I've ever heard then this must surely have been one of the tightest concerts—so tight in fact that it seems as though the set was designed to prove once and for all that the man if perfectly capable of playing tightly himself and of controlling a large band.

Predictions about Dylan are not worth much, but the set he turned on at Western Springs seemed quite as startling as anything else he's ever done. There was some relief at the length of the show, with Dylan himself onstage for more than 2¼ hours, and at his warmth towards the enormous audience (he even managed a big Hi to the Highway 61 motorbike gang who were present in some force); but I for one was quite bewildered when his band came on looking like something out of a Graham Bonnets clip.

Mick Ronson might have been a far cry from Robbie Robertson but here was some guy call Lasqua with silk shirt, tinted hair, and a gold-top Les Paul. Certainly we shouldn't worry about what the guy looks like—and there was nothing wrong with the way he played—but it's still not what you expect from our shabbiets, scruffiest, worst-dressed rock'n roll star.

The man himself was resplendent in glistening white jacket and tall brown hat. Add to this a horn player, and Steve Soles (playing gut-string rhythm) and the lady singers all looking very much like Bonnet's hands, along with the general polish and big smiles. The result had one trying to remember all the stories about "Dylan gone soft" as the Isle of Wight.

But I'm happy to report that there was no need to worry. Some of the old classics were a little flat, especially "Like a Rolling Stone" slightly modified but with neither the desparate intensity of the original not the sheer drive of the Before the Flood version. "One of Us must Know (Sooner or Later)" was another that didn't receive justice, nor did "Shelter from the Storm" which badly needed the vocals from the studio cut it was too tight, and just before the intermission I was beginning to wonder if the slickness wasn't going to kill the music.

But then he sang the first line of "Going Going Gone". I say the first line because, apart from that and the chorus, everything was new (and vastly improved), including a glorious bit of slow rolling boogie in the middle. Everything came together and from then on it was pure gold.

The music was all rock, and heavy. Dylan had an acoustic guitar and a mic for it but he didn't use them, and the harp only came out twice—fine solos on "Love Minus Zero/No Limit" and "Just Like A Woman". For a couple of numbers we had the strange combination of swirling organ, sax, and Dylan's own black Strat. It worked well, especially on "I want You," done very slowly.

An acoustic set might have gone down better, but still, I guess that's Dylan's business. The band certainly didn't need any apologies and the master's vocals were impeccable—he always seemed to have so much time.

Most of the songs were very different from the originals, especially "One More Cup of Coffee" and "Oh Sister", both of which became pure boogie. Several verses were left off "All I Really Want to Do", which was suitable and the song came across as a great good-time rocker, but a pity with "Mr. Tambourine Man" which went without the two middle verses.

It was indicative, however, of Dylan's determination to rock - and he really did, particularly on "All Along the Watchtower" with some high-class fiddling from multi-instrumentalist David Mansfield, and on the show's highlight and climax "It's Alright Ma (I'm only Bleeding)". "Don't Think Twice it's Alright" got a reggae treatment, complete with piccolo and whistling organ, and the end, with a repeated "it's alright", sounded like a tribute to the Wailers.

I've not spoken to anyone who doesn't seem to have had a really good time, but [unclear: Iv scs v] certain understandable disappointment that Dylan didn't look as though he was suffering from three weeks of no sleep and an impending O.D. He didn't sing "I Shall Be Released" as if he were dying in the proverbial Basement; he didn't sing "Like a Rolling Stone" as if he hated anyone. But Dylan is neither a messiah nor a fighting cock, and we can't expect the man to destroy himself for our benefit.

He is suffered, and you can hear it on vinyl, but if he looks happy then we shouldn't begrudge him that. If he feels like producing a slick "up" kind of show then what he gave us would have been far less pretentious than a more traditional assortment of musicians and a more traditional approach to old songs.

The facts are that he produced 140 minutes of first class rock; often, particularly during "Going Going Gone" and the final bracket of "Simple Twist of Fate" ("about a couple of friends who disintegrated"), "It's Alright Ma", and "Forever Young", it was brilliant. "Forever Young", done slowly, seemed perfectly appropriate and sounded sincere, and when he encored with "The Times They Are A-Changin'" he sounded as if he meant that too. Dylan more than justified the enormous faith that so many of us place in him, as he continues to change and develop, and to assert his own right to do so. A very fine show indeed.

John Newton

The Sharps

For the past few weeks Dino's wine bar has been the residence of a new Wellington group. The Sharps. So far their publicity has been low key and their performances advertised only by word of mouth, but, if you can find out when and where they're playing, they're an act worth catching.

The Sharps centre around Simon Emsley's dynamic singing and guitar playing, with Martin Wilson on guitar and bass, Paul Emsley on piano accordian, electric piano and occasional guitar, and all three combining on vocal harmony. This is specially good on gospel—type songs like 'Dark end of the street' or Ry Cooder's rocking 'Smack dab in the middle'.

Their line up may seem unusual in these days of disco and giant amplification, yet, even without drums they manage to create a tight and at times, really funky rhythm. Apparently they are looking for a drummer but know of only one in Australasia who will do and he currently spends his time between hospital and jail in Sydney.

The Sharps' repertoire is not the usual pub standards played by every band in town, but a real variety of material ranging from Elvis Presley to Little Feat, Bob Marley to Randy Newman. Perhaps the only positive result of Wellington's lack of venues for rock bands is that really good smaller bands like The Sharps will have a chance to be heard.

Judicial correspondent

Campus classical

On Friday 10th March at 1.10 pm. the Music Dept, held its weekly concert in the Memorial Theatre with 80 people in the audience. This week leading '77 students were featured in a variety of classical music performances.

Cathy Gibson (oboe) and Cathy Martin (piano) first played a sonata by Loeillet (1680-1730), a Belgian composer and wind performer who helped popularise the flute (a new instrument for the time) in England. The acoustics of the theatre gave a non-sonorous, ringing tone to the oboe. The piano accompaniment needed to be more definitive although Cathy was aiming for a harpsichord touch.

A song each by Haydn and Brahms was given by Dawn Bertenshaw (soprano) and Rachel Griffin (piano), the singer with a very easy delivery. Professional singers make one aware of their correct posture and implied highly strung temperament (singers are the most temperamental of musicians, pianists a close second) but this was not so here.

Six pieces for guitar written by Wellington's Prof. Douglass Lilburn by Kim Dyett. I reflected on the local professional, Milton Parker who played as a veritable Ganglion in his attempts to play a work beyond his ability. I hear he has improved now. Nothing could have contrasted more here with the easy, informal, relaxed presentation of melody with punctuating and cad-ential chords. The melody was clear-noted and an attractive, more metallic tone was achieved for the chords.

Simon Bates played 2 unilluminating preludes by the Russian Rachmaninoff. A translucent quality was succesfully achieved but the piece lacked openness

A surreal, pointillistic miniature written by Kim Dyett was played by Penny Dodd. Contrasts. I would like to see a longer set in the same vein. Non-indulgent. Illuminating.

Bach's Suite No. 5 by Bronwen Murray got better as it went along with ever more poise and precision. Belaboured at times though.

Electronic music, a feature of the Vic classical scene featured with an amusing, natural sound (as opposed to synthesized) piece by Michael Vinten. Two sections, the last of which ends or perhaps peters out in a much unfinished manner. I don't think it could be excused as open-ended. Otherwise strong and definitive. The humourous interrupted conversation between voice and flute was enjoyed by the audience: flute gives an anti-climactic answer to the dramatic voice phrase.

Rosemary Quin was beautifully inside the accompaniment to Michael Riddiford (baritone) in 2 songs by Hugo Wolf. The second song about a wandering minstrel was better conveyed in meaning than the heavier 'Secrecy' ('Leave O world, oh leave me be').

Rachel Griffin reappeared to play 'Prelude' by staff member Ross Harris. A concentration of motives in the upper register (piano) with grounding chords in the left hand.

Finally a very accomplished performance of 3 dance preludes by Lutoslawski (Polish). The music had presence and shape.

Elton June