We’re partnering with Third Man Records to release live recordings from The Raconteurs, The White Stripes, Jack White, and The Dead Weather on nugs.net. Starting today, you can listen to 12 archive shows from the Third Man Records archives, including a never-before-released recording of The White Stripes. Every show is available to download or stream in the nugs.net app.
Today’s release is only the beginning. Starting in September, the third Thursday of each month is Third Man Thursday featuring brand new releases from the Third Man Records archives. Additionally, we’ll be webcasting every moment of The Raconteurs three-night run at Nashville’s historic Ryman Auditorium free on nugs.tv starting this Thursday.
Starting today, you can listen to O.A.R. on nugs.net. Hop in and check out guitarist/saxophonist Jerry DePizzo’s curated collections. Jerry’s Picks feature the band’s best live moments from 2009 – 2016. It’s the perfect primer to introduce you to O.A.R. Having produced music and toured for over two decades, Of A Revolution has refined their live performance to perfection. There’s something special about taking your high school band and turning it into worldwide mainstream success; that’s exactly what O.A.R. has done. No matter if you’re a day one fan or if it’s your first time listening, these collections are the perfect O.A.R. experience.
Check out all of Jerry’s Picks + three full live shows from their 2014 tour
It’s been half a century since 500,000 people made their way to Bethel, New York for the now-historic Woodstock Music Festival. The iconic festival didn’t come together overnight, in fact, it nearly didn’t happen at all. Finding a venue proved a difficult task for event organizers. Organizers didn’t land the famous dairy farm in Bethel until roughly a month before the first act would take the stage. Woodstock was billed as “An Aquarian Exposition: 3 Days of Peace & Music.” The Woodstock moniker wouldn’t come until later. Woodstock’s legacy lives on through just about every festival that takes place today.
Woodstock 1969 Lineup:
Richie Havens Bert Sommer Sweetwater Melanie Tim Hardin Ravi Shanker Arlo Guthrie Joan Baez
Quill Country Joe McDonald John Sebastian Keef Hartley Band Santana The Incredible Stringed Band Canned Heat Mountain The Grateful Dead Creedence Clearwater Revival Janis Joplin Sly and the Family Stone The Who Jefferson Airplane
Country Joe and The Fish Ten Years After The Band Johnny Winter Blood Sweat and Tears Crosby Stills Nash and Young Paul Butterfield Blues Band Sha Na Na Jimi Hendrix
Listen to Woodstock
nugs.net subscribers can listen to these Woodstock performances on desktop, Sonos, and in the nugs.net app.
Less than a month before the release of his physically and sonically mega box set Live/1975-85, Bruce went completely the opposite direction, stripping down to play his first all-acoustic set since 1972 at what would become Neil Young’s annual Bridge School Benefit Concert.
During a guest DJ session on E Street Radio, Nils Lofgren recounted getting a call from Bruce to join him for the Bridge (Lofgren was also on the bill as a solo artist). Along with Danny Federici, the trio worked up and rehearsed the set in a New York City studio in early October 1986. But as Nils tells it, in an anecdote that conveys deep admiration for the confidence and prowess of his bandleader, on show day at Shoreline, Bruce called a major setlist audible. It wouldn’t be enough to merely play acoustic; Springsteen would go one step further and open the show a capella.
Here was the biggest rock star in the world, last seen 12 months earlier wrapping his staggeringly successful Born in the U.S.A. tour in front of 85,000 fans at the LA Coliseum, taking the stage and singing “You Can Look (But You Better Not Touch)” accompanied only by his snapping fingers. Nils described Bruce’s audacious performance as Elvis-like in its physicality, and grainy bootleg video of the show confirms that. What an entrance.
The Bridge ’86 is a special show. The short but oh-so-sweet set reconnected Springsteen with acoustic performance and can be viewed in hindsight as helping spur a decade or more of solo appearances like the Christic concerts and acoustic recordings like The Ghost of Tom Joad that followed.
The line-up for the inaugural Bridge benefit included Bruce, Nils, Don Henley, Robin Williams (who briefly referenced his famous “Elmer Fudd does Bruce Springsteen” bit during his stand-up set that night), Tom Petty, and host Neil Young (who had his own special guests in Crosby, Stills & Nash). Not unlike the M.U.S.E./No Nukes shows, another benefit where some of these same artists shared a bill, “Broocing” throughout the concert made it clear who most of the audience had come to see.
Following “You Can Look,” Bruce delivers an astounding rebuttal to the jingoistic appropriation that surrounded the title track of his last album. “This is a song about the snake that came around and began to eat its tail,” Bruce says introducing his first public airing of the original solo acoustic arrangement of “Born in the U.S.A.” Any misconstruing of or ambiguity as to the song’s meaning is vanquished over the next five minutes in a spellbinding performance. Until the Bridge, one could only speculate as to what “Born in the U.S.A.” would have sounded like on Nebraska. Now we know.
Nils and Danny then take the stage, and we get an exquisitely rare outing for this E Street Trio. What magic they weave. “Seeds” arrives as a companion to “Born in the U.S.A.” Angry and defiant in 1985, the 1986 model of “Seeds” is instead weary and knowing, sounding like a tune from a bygone era. “Darlington County” is next, preceded by a mini-edition of the story that introduced “Open All Night” in 1984 of Bruce getting pulled over on the turnpike. Nils provides charming harmony vocals throughout the show, none better than what he offers here, as “Darlington” takes its time driving down from New York City.
Strumming and singing brightly, Lofgren shines again on “Mansion on the Hill,” as does Federici. Danny first vamps a little “Lady of Spain,” as Bruce gets his guitar ready, then adds rich accordion swells that paint the song an emotionally tinged hue.
“Fire” will be familiar to those who own Video Anthology on VHS or DVD, where the Bridge version was showcased. Before it starts, Danny is again tapped to fill time due to minor technical difficulties, and he drops a dose of Duke Ellington’s “Satin Doll.” Uncannily, Federici used the song in much the same manner in the earliest E Street days circa 1973-74. Though “Fire” is rightly remembered as a Clarence Clemons showcase, the acoustic version, carried by Bruce’s deep vocal, is pure delight, peaking when Lofgren and Springsteen raise their voices way up to sing, “your words they liiiiiie.”
“Dancing in the Dark” rides a particularly passionate lead vocal along with some fine accordion work from Federici in the final third that pushes the Shoreline audience towards rapture. “Glory Days” always had a bit of a campfire singalong vibe underneath it, and that comes through in this charming take that has the swooning audience joining in.
Serving as something of an encore, “Follow That Dream” lends poignancy to the evening as Springsteen dedicates the song to Neil and Pegi Young. In its River tour incarnation (as heard on the London ’81 archive release) “Follow That Dream” is stark and solemn. In 1986, it transforms into an uplifting song of hope, performed less as a mediation and more as an instruction.
For the final song of the set, “Hungry Heart,” the trio is expanded with backing vocals and guitar from special guests David Crosby, Graham Nash, Stephen Stills, and Young, putting a spirited ending on just under an hour of acoustic enchantment.
Bridge School ’86 is a significant moment in the rebirth Springsteen as an acoustic artist. Since that show, Bruce has done two fully acoustic tours and a Broadway run that carried on in the spirit of ’86. Perhaps someday, Bridge School ’86 could still inspire an E Street Trio tour as well.
Red Rocks Amphitheatre is hands down one of our favorite venues in the US. The natural beauty that accompanies the sweet sounds of live music makes for a breathtaking experience. There’s a reason why it’s a must-visit location for nearly all of our nugs.net artists. Below you’ll find a collection of every Red Rocks performance we have from this year… so far.
Ahead of their upcoming tour, TAUK just released their much sought-after TAUKing Beatles set from Resonance Festival 2018. The performance was unlike any Beatles cover set you’ve seen before. It’s a magical show filled with fun jams and a fantastic song selection. We talked to the band about the show, check out the interview before queueing up the show on nugs.net
What was the most challenging part of performing an all Beatles setlist?
Anything TAUK does we want it to be unique and special to who we are as a band. The Beatles’ catalog has such a wide variety of styles and musical approaches it was a little tricky to find songs that we could meld into our own TAUK sound because there’s so much to choose from. Also, the Beatles are well known for their lyrics which presents a challenge as an instrumental band. We decided on songs with strong recognizable melodies so the crowd could sing-a-long and be an active part of the set. However, we found less popular songs like, “Taxman” which allowed us to improvise and keep the audience guessing.
These jams go deep, the listener can immediately tell how vast the improvisation goes on this set. How did you balance maintaining Tauk’s sound with Beatles songs?
That’s easy. We just do what we do and make sure we listen to the songs and each other.
What three words can you use to describe this set?
Which band member does the best British accent?
Charlie does the best Ringo. Please find him and ask him to do it!