LONDON, Ont. - The endless enigma that is Bob Dylan was back at the John Labatt Centre last night.

This time, Dylan had an old friend -- Toronto blues rocker Paul James -- onstage for the start of his two-hour set before 3,200 fans.

Early in the set, the rock icon with the calculated squawk for a voice had already played completely reworked versions of such Dylan new and old classics as I'll Be Your Baby Tonight, Masters of War and The Levee's Gonna Break before 3,200 fans.

Having James along to fire up the start of the show wasn't the only positive difference between last night's concert and Dylan's 2006 visit to the downtown London arena.

This time, Dylan seemed more animated, getting out from behind his keyboard to wail on harmonica a lot and gesturing encouragement to crackerjack band.

Dylan's keyboard, which was missing in action last time, was prominent, recalling the organ sounds of Al Kooper on Dylan's 1960s classics and Augie Meyers on newer albums.

Both shows were uneven. Last night, a too long version of Ain't Talking from 2006's Modern Times brought the main set to a halt. After some desultory applause, Dylan and the band returned for Like a Rolling Stone and All Along the Watchtower. The two classics were both fiery and earned the night's true ovation.

As in 2006, his voice fr was in full squawk. This will annoy many fans and last night was no exception. A buzz -- not the good kind -- could be detected at Dylan's fourth London concert.

Oh, well. This reviewer has decided to accept Dylan's decision to play around with his famous words. When he wants a line to be heard clearly -- say, the slashing "I hope that you die" from Masters of War or the self-mocking "You think I'm over the hill" from Spirit on the Water or the menacing "How does it feel?" from Like a Rolling Stone -- it could be heard.

"Unintelligible," Dylan said clearly during the band introductions, one clue that this master artist and joker can be heard when he needs to.

Dylan treats his lyrics the way a jazz master manipulates a familiar melody. Dylan also seems to enjoy twisting and turning his songs into new shapes to suit his voice.

James first met the singer around 1986 when Dylan showed up at Toronto's Nag's Head Tavern and guested with James and his band.

Last night, the Toronto guitarist had the moves and brilliant, bluesy runs to claim his corner of the stage. Whether it was 1990's boogieing Cat's in the Well -- identified by a Dylan scholar in the house as the opening shot -- or 1965's lovely Love Minus Zero/No Limit, James and Dylan were connecting.

The connection was exciting during James's five-song stint. As good as Dylan's touring band is -- and they're Hawks-worthy -- it would have been a big treat to have James return.

As was the case in 2006, Dylan's tour organizers stupidly prohibited cameras and photography at the show. So you'll have to take my word that Dylan was wearing a big white cowboy hat and a black suit with red trim that made him look like a bellhop in a wild west hotel.