Staff Picks Volume 2

This second volume of our Staff Picks series comes from Stephen Holland on our marketing team. He loves music across a wide spectrum but there is definitely an emphasis on sounds of the southeast and jazzier jams. Click here to listen to Stephen’s Picks in the nugs.net app and read below to learn more about why he loves these tracks. Enjoy!

Railroad Earth: “Panama Red” 11/30/13 – Stroudsburg, PA

I’ve always loved this New Riders of the Purple Sage tune and Railroad Earth has some fun with it here. 

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The Allman Brothers Band: “Statesboro Blues” 8/12/08 – Bethel, NY

I’m a Georgia boy so a famous blues standard with a Peach State location reference always hits for me. This was a Mountain Jam show with the same band that recently reunited at MSG as The Brothers, absent Gregg and Butch of course. 

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Goose: “Madhuvan” 3/15/20 – T’s House

A really fresh one here. This was the opening track of a webcast that Goose just did over the weekend with a portion of the proceeds benefiting the Sweet Relief Musicians Fund in this time of virus-caused live music drought. They lit up someone’s living room on this one.

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Jerry Garcia Band: “Mission in the Rain” 6/10/89 – French’s Camp on the Elk River

Recording of an under-appreciated Jerry tune from a small little place up in Northern California. 

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Jason Isbell and the 400 Unit: “Cover Me Up” 10/22/18 – Ryman Auditorium

Jason Isbell has been the most consistent soundtrack of my life the last few years. His writing is a combination of the nostalgia from the south and the current state of the world. This track has a special place in my life for sure.

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Jason Isbell and the 400 Unit: “Outfit” 9/14/19 – Capitol Theatre

Doubled up on Jason but it’s my playlist. This one hits big on growing up in the south nostalgia. 

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Pearl Jam: “Alive” 11/30/93 – Las Vegas, NV

From the earliest Pearl Jam archive show that we have, the band toured on its second album Vs. Unfortunately, we don’t have a video of the Elvis impersonator that sat in with them. We’ll have to just imagine that.

Billy Strings: “Turmoil and Tinfoil” 2/15/20 – Asheville, NC

Billy en fuego on this track. I can’t wait for his tour with Jason Isbell and the 400 Unit this summer.

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The White Stripes: “Boll Weevil” 7/31/07 – Southaven, MS

The last song of the last White Stripes show, enough said. You can see I like old blues standards.

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Tyler Childers: “Lady May” 11/30/18 – Exit In, Nashville, TN

Who doesn’t like a beautiful love song? The lyrics and the lonesome fiddle get me every time.

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Tyler Childers: “Country Squire” 11/30/18 – Exit In, Nashville, TN

Another double dose. I needed to highlight some slide guitar on here.

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Joe Russo’s Almost Dead: “Truckin'” 11/10/18 – The Fox Oakland

A nice stretched out jam of a classic. This was a great show across the Bay at the Fox.

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Wilco: “California Stars” 12/3/01 – The Fillmore San Francisco

Iconic song recorded in another round of turbulent times just down the street at The Fillmore. It makes me feel like it’s all going to be ok for about 6 minutes anyway. 

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Charlie Hunter: “Lively Up Yourself” 9/14/96 – Cincinnati, OH

The horns, guitar, and organ play together like the three best friends that anyone ever had. More of this, please.

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Kitchen Dwellers: “New Man” 2/8/20 – Bend, OR

Blisters on some fingers here as they headed into the break. Really been enjoying the Kitchen Dwellers lately.

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Guy Clark: “LA Freeway Pack Up All Your Dishes” 11/19/89 – Austin City Limits

A cool one from a trove of Austin City Limits shows that we have. Guy Clark is one of my favorite songwriters.

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Lotus: “Disappear in a Blood-Red Sky” 2/15/20 – Frisco, CO

This is a nice recent one from Lotus with some beautiful harmonies in the back. Enjoy!

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Ghost Light: “Old Time Religion” 11/22/19 – San Francisco, CA

This was one of my favorite tunes from last year’s show here in the neighborhood at The Independent.

New Exclusive Live Archives From Wilco

Wilco is back with the latest entry in their nugs.net exclusive “Front of House” series. This release features both nights of Wilco’s 2010 “An Evening With” tour stop in Montclair, New Jersey. Check out Marc Prizer’s notes on the shows below. Click here to listen to start listening.

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“Three-hour shows! Acoustic sets! Deep cuts! On-stage restaurant gift certificate giveaways! All of these factors made the Spring 2010 “An Evening With” tour one of the most revered among long-time fans. Initially starting with a hefty 33-35 song length, by the time the tour rolled into the central New Jersey town of Montclair, the show had expanded to occasionally hit 38 songs played over 3-plus hours onstage. The sets were so long that, in order to catch their collective breath, the band really did take a few moments mid-show to give away local restaurant gift certificates to a few lucky fans.

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But quantity ain’t nothin’ without quality, and these shows have a high quantity of quality (see what we did there?). Perhaps the coolest aspect of these shows is how the performance morphs, via the noise-coda of “Poor Places”, from it’s initial hi-wattage electricity to an intimate mid-show acoustic set…and then back “up” again after “Airline To Heaven’s” crescendo. In addition to its counterbalance of timbre and dynamics, the acoustic set also provided a platform for the performance of rarely-played deep cuts; these Montclair shows include “Someday Some Morning Sometime”, “When You Wake Up Feeling Old”, and the deepest of deep tracks, “More Like The Moon” (featuring a beautiful extended Jeff Tweedy acoustic guitar solo). These shows also include powerful readings of the Big Star songs “In The Street” and “Thank You Friends” as a tribute to the then-recent passing of Wilco hero Alex Chilton.

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All in all, the two shows in Montclair showcase a whopping 57 different songs, presenting a near-complete representation of what went down during that “An Evening With” tour.” – Marc Prizer

New From The White Stripes

The White Stripes are back with their latest release in Third Man Records’ archival series. Click here to listen to The White Stripes live in Seattle, 6/16/2000. Third Man Records’ Co-Founder Ben Blackwell’s memories from the show capture the essence of those early touring days for the band.

“Heard Pearl Jam, Alice in Chains and Nirvana consecutively on the radio as we entered Seattle city limits. When we got to the club the sound guy was wearing the ‘Fudge Packin’ Nirvana tee I knew I’d see here. Took me awhile to find the Space Needle, but once I did, I knew I was officially in Seattle. While band was sound checking, I explored the city and managed to walk to Sub Pop World HQ and the Croc Club.

The Stripes were okay, Slim Moon was really into it, sold a ton of merch, saw some guy with a bootleg Gories ‘Outta Here’ t-shirt. After the show, Jack got offered to record for Kill Rock Stars and Sub Pop (from Jon Ponemon himself). Leaving the club the van wouldn’t start (for about ten seconds) giving everyone a big scare.”

In terms of The White Stripes first extended tour, Seattle seemed like a gig everyone was looking forward to. Having just turned 18 years old four days prior, I was later told that if I could get into the show in Seattle (with some of the most restrictive 21-and-over bar policies in the country) that I would be able to get in ANYWHERE. No one ever even asked to look at my ID, but the next four times I would find myself at the Crocodile Club I would have to stay in the van because I wasn’t 21 yet. Anyway, the set that night was prime White Stripes 2000 magic, all the best moments from their first two albums delivered with abandon and aplomb. The crowd doesn’t even seem to mind the early abandonment of “Little Bird”, cheering their heads off at its conclusion, nor object when Jack re-inserts the tune into the set not two songs later. While Jack’s voice had been having issues this week (he even begins the show pre-apologizing for it) outside of his changing his register for “Jolene” it sounds vibrant to me. The vitality of youth! I shot video of this gig, but it’s a terrible angle with horrible light. Maybe we’ll share it for the 30th anniversary.

-Ben Blackwell

15 Concerts to Watch at Home

Are you stuck at home for the foreseeable future? As music-lovers, we know how frustrating it is to be separated from the live music experience. Luckily, we’ve put together a list of shows you can enjoy anywhere. Watch these at home and enjoy the full concert experience without risking your health. Throw them on in your living room and grab a front-row seat on your couch, it’s showtime. We also have a full slate of upcoming live webcasts coming from studios and artists’ living rooms; check out the full lineup on nugs.tv!

YouTube

  1. The Brothers: “Mountain Jam” – Madison Square Garden 3/10/20
  2. Billy Strings – Tipitina’s New Orleans 1/24/20 FULL SHOW
  3. Melvin Seals & JGB ft. John Kadlecik plus George Porter Jr. Trio FULL SHOW 10/17/19
  4. Drive By Truckers – Tipitina’s New Orleans 9/26/19 FULL SHOW
  5. Wilco – Live From Brooklyn Steel 10/13/19 FULL SHOW
  6. Bob Weir and Wolf Bros – The Ryman Auditorium 3/7/20 FULL SHOW
  7. Circles Around the Sun & Greensky Bluegrass 1/18/19 FULL SHOW
  8. Dead & Company: “Shakedown Street” – Bristow, VA 6/26/19
  9. Joe Russo’s Almost Dead – The Peach Music Festival 7/27/19 FULL SHOW
  10. Widespread Panic – Sweetwater 420 Festival 4/21/19 FULL SHOW

nugs.net app (subscriber exclusive)

  1. Umphrey’s McGee – Brooklyn Bowl 9/8/11 FULL SHOW
  2. The Rolling Stones – The Forum, Los Angeles 7/12/75 FULL SHOW
  3. Metallica – Berlin, Germany 7/6/19 FULL SHOW
  4. Dead & Company – Wrigley Field, Chicago 7/14/19 FULL SHOW
  5. The Disco Biscuits – The Fillmore, Philadelphia 12/31/18 FULL SHOW

Gotta Sing A New Song, That’s My Job

Bruce Springsteen and the E Street Band

Joe Louis Arena, Detroit, MI, March 28, 1988

By Erik Flannigan

The 1988 Tunnel of Love Express Tour was marked by material changes to the Springsteen concert baseline in place from 1978-1985. The band changed on-stage positions, setlist warhorses like “Badlands” and “Thunder Road” took a breather, and Bruce drafted in a horn section for the first time since 1977. But the true differentiator separating the ’88 tour from every other is its original narrative arc. A Tunnel performance was a blend of song selections, sequencing, and even on-stage elements that took the audience on a journey through the complex and nuanced world of adulthood and relationships: romantic, fraternal, and familial.

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Bruce started Tunnel shows with an invitation along the lines of, “Are you ready to ride?” The visual metaphor on stage was that of an amusement park, implying a night of thrills, chills, and spills. Marketing for the tour intoned “This is not a dark ride,” but as Bruce wrote in “Tunnel of Love,” “the house is haunted and the ride gets rough.” Does it ever.

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The Tunnel set, in story and song, explored adult life’s emotional ups and downs and the hard questions that arise when you recognize being in a deep committed relationship requires acknowledging your doubts and vulnerabilities.

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At the time, the tour’s setlist rigidity raised eyebrows from longtime fans, though it did loosen up as the tour wore on. But in hindsight, the initial core setlist in the tour’s first several weeks can be seen one of Bruce’s most fully realized artistic visions. Detroit 3/28/88 captures the Tunnel of Love Express Tour in its purest form.

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The first set in Detroit borders on perfection, opening with a stellar version of “Tunnel of Love” into “Be True,” the latter released as a live b-side from this performance. The River-era selection serves as a showcase for the Big Man, Clarence Clemons, who was at the top of his game on the tour and blows “Be True” beautifully. Patti Scialfa’s vocals are also on point.

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The resurrection of “Adam Raised a Cain” for the first time since the Darkness tour is a long-awaited return, especially with the Tunnel of Love Horns adding heft to the performance and Bruce’s guitar pushed to the fore. In terms of familial relationships, “Adam” is one end of a father-son thread that will come back later in the show with “Walk Like a Man.” But before that there is other provocative ground to cover: introspection (“Two Faces”), companionship (“All That Heaven Will Allow”), oppressive outside forces (“Seeds,” “Roulette”), shelter from those storms (“Cover Me”), self-doubt (“Brilliant Disguise”), a mother’s doubt (“Spare Parts”), and lastly the lingering impact of the Vietnam War (“War,” “Born In the U.S.A.”).

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The sequencing of the set is so strong that the transitions between tracks are as memorable as the songs themselves. “Tunnel” gives way to the soaring “Be True.” “Roulette” ends but “Cover Me” rises from the mist in the same key. The haunting keyboards that end “Cover Me” flow straight into “Brilliant Disguise.” Every song change has been thought through and rehearsed, or in some cases newly written. The stirring piano and synthesizer suite that serves as the music bed to the introduction of “Spare Parts” is one of my favorite musical elements of the entire tour, cinematic in scope and poignant in expression. Kudos Mr. Bittan and Mr. Federici.

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The set ends with a brilliant “Born in the U.S.A.,” again showing that 1988 versions of the song are the most potent, driven by Bruce’s additional lyrics and storming guitar solo.

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“Tougher Than the Rest” opens the second set on a majestic note and reminds us of its place among the very best songs Bruce has ever written. After a foray into longing via “Ain’t Got You” and “She’s the One,” the mood lightens with the playful and self-effacing “You Can’t Look (But You Better Not Touch)” and Gino Washington cover-turned-original (and ’88 tour exclusive)  “I’m a Coward.” The pairing of “I’m on Fire” with “One Step Up” is a trip into a particular male psyche, perhaps even the same character at two different stages of life.

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“Part Man, Part Monkey” offers a humorous take on animal instincts before the overall narrative arc reaches its dénouement with “Walk Like a Man,” revisiting the father and son from “Adam Raised a Cain.” The resplendently detailed yet understated arrangement is augmented by horns and shows off the band’s vocal chops, too. Bruce’s singing stays true to the original, and there’s a real power in the sincerity of his performance.

The set ends with “Light of Day,” in a less refined, more exploratory form than later versions in ‘88. In fact, rather than bring closure, this “Light of Day” seems more a celebration of uncharted waters — the line that really stands out now, “Don’t ask me what I’m doing buddy, I don’t know,” lands like an overall commentary on the narrative that preceded it. 

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Standouts in the encore include “Love Me Tender,” which teeters on wedding band territory until you realize that Bruce is singing the hell out of it, and a free-flowing “Detroit Medley,” with Bruce calling out key changes and the band showing off their turn-on-a-dime prowess. The medley features “Sweet Soul Music,” which gives La Bamba & Co. one of the all-time great horn parts to chew on.

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For dessert, we’re treated to the second soundcheck bonus track in the live archive series, “Reason to Believe.” While Tunnel of Love setlists had fewer variants than a typical Springsteen tour, 1988 soundchecks were often wide-ranging affairs, loaded with cover songs (some of which eventually found their way into the set) and other material. As cool as those covers could be, “Reason To Believe” is even more compelling.

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The song regularly featured on the Born in the U.S.A. tour but was dropped when the show moved to stadiums. Here, Bruce and the band test drive a moody, horn-accented arrangement that is reminiscent of what they would do with Woody Guthrie’s “Vigilante Man” two months later at Madison Square Garden. Springsteen’s vocals and harp are resolute, the music swampy, and the end product a beguiling alternative take on one of Springsteen’s best and, as later versions attest most mutable songs.

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Highs, lows, pathos, comedy, sin, redemption—the Tunnel of Love Express tour had it all, and on stage in Detroit, Bruce shared as much of himself in these rich, satisfying performances as he would do three decades later on Broadway. 

311 on Three Decades of Music

Next week, thousands will gather in Las Vegas to celebrate three decades of 311. The band will play three shows beginning on March 11th A.K.A 311’s official holiday, 311 DAY. Fans unable to make the trip out to Sin City will be able to participate in the festivities from home. All three shows will be webcast live on nugs.tv in their entirety. The webcasts, offering individual nights or a three-night package, are available for order now. Ahead of next week’s celebrations, we spoke to 311’s Nick Hexum (Vocals, Guitar) about this year’s 311 DAY and more.

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nugs: With this being a special 30th-Anniversary celebration, what do fans have in store with these three 311 DAY shows?

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Nick Hexum: I think it will be a very emotional experience for us and our fans. Reflecting on what a special community the 311 Nation has become. We will be looking back as well as forward. Being 311 DAY shows, of course, we’ll be digging deep and playing songs from throughout our 30-year career across 2 sets a night, plus we have special production to take the spectacle of this show to another level!

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nugs: What is your fondest memory from 30 years of touring?

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NH: One special night was when we did a big free show in a park in Omaha back in 2006 and like 40,000 people showed up. It was overwhelming to see the sea of people in our hometown. Meanwhile, every 311 Caribbean Cruise and 311 DAY feel really special. Somehow it just keeps getting better!

nugs: What makes a 311 DAY so special?

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NH: It’s like a family reunion. A celebration of the band, the fans and the community we’ve built together. I’ve heard so many cool stories of people who know each other online meeting in person and then becoming great friends. Also, quite a few marriages and babies being conceived! Mostly, it’s time for us to express our gratitude for our incredible fan-base by putting on the very best show we can!

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nugs: Do you think this year’s 311 DAY shows will hit the 100 song mark across all three days?

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NH: I’m sworn to secrecy.

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nugs: What makes doing this in Vegas so special?

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I think people leave their troubles behind once they arrive in Vegas. People just automatically unwind there, so it’s perfect for a 311 event. Plus the Park Theater is an amazing high-tech venue to get to play. Let’s rock!