The latest exclusive release from the Bruce Springsteen Live Archive Series comes from East Rutherford, NJ on July 31, 1992.
Check out archivist Erik Flannigan’s essay on this performance below, then give this archival show a spin. CDs and Hi-Res downloads are now available for order, or stream Springsteen’s entire archival concert catalog plus the latest with a nugs subscription.
Trying So Hard To Shed My Skin
Bruce Springsteen, Brendan Byrne Arena, E. Rutherford, NJ, July 31, 1992
By Erik Flannigan
It’s been four years since the Live Archive series revisited the 1992-93 tour in support of Human Touch and Lucky Town. Historically, this era has been marked with an asterisk, often viewed as a deviation from the norm given the new, not E Street band.
Yet as time passes, 1992-93 simply feels like one interesting chapter in a long, musical journey. One major component of that band, gospel-influenced background singers, has become a fixture on recent tours. Tom Morello isn’t Nils Lofgren or Stevie Van Zandt, just as Shane Fontanye wasn’t. Someone other than Clarence Clemons playing saxophone on “Born to Run”? We’re used to that too.
However, the 1992 musical formula was intended to be roots-rock meets gospel, not unlike Bob Dylan’s 1986 True Confessions tour with Tom Petty and the Heartbreakers as the backing band, joined by a group of gospel singers dubbed the Queens of Rhythm. But where the Heartbreakers’ great Benmont Tench swirled classic organ and keyboards, the equally great Roy Bittan circa 1992-93 moved modern synthesizers to the fore, which at times overloaded the on-stage sonic landscape and also froze in time the sound of some songs.
The other unavoidable dynamic of the new band was lack of reps. Whatever the new musicians’ strengths, the unit couldn’t recreate in a few months of rehearsals and shows the muscle memory ingrained by the two decades of touring Springsteen did with the E Street Band. As such, the newcomers couldn’t instinctively anticipate where their leader was taking a specific performance in the live environment. That meant certain songs lacked focus and drive that went beyond the recent recruits bringing their personal style and sound to the proceedings.
July 31, 1992 is the sixth of an 11-show stand that kicked off the U.S. leg of the tour on home soil in New Jersey. No pressure, right? While the aforementioned realities of the new lineup remain present, there’s a lot to appreciate in this 30-song set. Springsteen and the band gained confidence in their mission and grew more comfortable playing to the local fanbase. The contemporary material holds up well, as do select catalog cuts; it’s the run through classic fare at the end of the night that doesn’t meet the moment.
It’s hard to fault the top of the show, as the inspiring “Better Days” kicks things off and rolls into “Local Hero” and “Lucky Town.” They all hit hard, and the gospel vocals, Fontayne’s swerving guitar and Bittan’s piano (especially on “Local Hero”) feel fresh and vital.
Bruce is in fine, fun form too, riffing at the end of “Local Hero” about rock star marketing tropes like t-shirts and talk show appearances. Then before “Lucky Town,” he amusingly paraphrases Clint Eastwood’s legendary lines from Dirty Harry: “Are you feeling lucky out there? Well just how lucky are you feeling? Let me think. Did he have five shots or six shots left in that guitar?”
A credible “Atlantic City” follows, performed for the first time on the tour, followed by an enchanting new arrangement of “Spirit in the Night.” Springsteen starts it stripped back on acoustic guitar before he’s joined by the full chorus on background vocals to lovely effect. It’s a bold choice to transform a classic like this, in an arena no less. And it works.
So does “Badlands” (with Bruce taking the hero solo and Fontayne filling The Big Man’s sax spot), “Trapped,” and “The River,” which features a mournful harmonica and guitar outro. “Living Proof” remains the masterpiece of this period and the version on night six is excellent, hitting with emotional depth from start to finish.
After a solid “My Hometown,” the first set wraps with heart and humor through “Leap of Faith,” “Man’s Job” (featuring Bobby King), and a long “Roll of the Dice.” Intensity rises in Act 2, which opens with “Downbound Train,” a sharp “Cover Me,” and the sublime “Brilliant Disguise” featuring Patti Scialfa on vocals. The tour debut of “I’m on Fire” is spot on, sounding remarkably like its ’80s E Street Band incarnations.
Two other song premieres merit special mention and would prove to be ultra rarities in terms of future performance.
“Pony Boy” is a literal lullaby, confirmed by the words “sleep tight,” which Springsteen tags to the end of his performance. “Pony Boy” was surely sung to Evan and then Jessica, though it was she who became an equestrian of the highest order. The arrangement starts with Bittan’s lush synthesizers, sounding less dated here than other tunes, before Springsteen begins his intimate, acoustic nursery rhyme. The contrast between Bittan’s dark tones and a father gently singing and strumming to his son may suggest the weight of parenthood that looms above its joys. It’s a sweet inclusion.
“Cross Your Heart” would return to the setlist but once more (Nassau Coliseum, November 11, 1992), which is a shame. There’s an earnestness to the studio version which is something of a modern country arrangement, straightforward with touches of twang. The live “Cross My Heart” is a different animal, more down and dirty, even a bit honky tonk, giving it an appealing edge. Springsteen’s vocals are 100% committed, further lifting the caliber of a song that felt constrained on record.
Out of “Cross My Heart,” the “Star Spangled Banner”-inspired introduction to “Souls of the Departed” brings political bite to the set, and “Departed” into “Born In The U.S.A.” remains a potent pairing and the denouement in what to this point has been a strong showing. But from there, as we enter what’s meant to be the party portion of the evening starting with “Light of Day,” something’s getting a little lost along the way.
Springsteen’s strong lead-guitar work aside, ten-plus minutes of “Light of Day” feels both rushed and drawn out. Encore-opener “Prove It All Night” sounds okay, but doesn’t feel defiant or exultant, particularly without Clemons’ signature saxophone solo. Fontayne’s off-roading in “Light of Day” reappears in “Glory Days,” which is unsure where to go or how to end. The aforementioned muscle memory just isn’t there. “Darlington County” fares better, aided by the background singers, who also double effectively for Flo & Eddie on “Hungry Heart,” but something still isn’t ringing true in the low-key performance.
Fortunately, the 1992 arrangement of “Thunder Road” with Springsteen on acoustic guitar and subtle backing from Bittan is marvelous and recasts the song yet again in fresh light. “Born to Run” is “Born to Run,” its greatness shining through in any rendition. To close, a charming take of Tom Waits’ “Jersey Girl,” with Springsteen in superb voice and the band showing restraint to allow the music to lilt beautifully over the Jersey faithful.
The roar of the crowd at the end tells you they were happy with the show. In hindsight, we notice the peaks and valleys, but there’s something to be said for 7/31/92 not sounding so familiar, in particular the songs from Human Touch and Lucky Town, which have themselves become rarities for the most part in the Reunion era.
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