Listen To Your Junk Man


Bruce Springsteen and the E Street Band
United Center
Chicago, IL, September 30, 1999

By Erik Flannigan

It is hard to believe we are fast approaching 20 years since the Reunion tour commenced and the recommitment of Bruce Springsteen, the E Street Band and their many fans was validated night after night across the stages of Europe and the United States.

The archival download series has already given us perhaps the most famous show of the tour, closing night at Madison Square Garden in July 2000, a masterful performance that was appropriately conscious of its place as the culmination of the 132 concerts that came before it. Now, we get a markedly different slice of the Reunion tour and how sweet it is.

Taking nothing away from great shows in E. Rutherford, Philly, Boston and other cities which preceded it or memorable stands in Los Angeles and Oakland to follow, Chicago ‘99 is a barn burner. It actually gains potency from our collective and relative unfamiliarity with the performance and as a result feels deliciously fresh.

It was the last night of three in Chicago as well as the final show of the first U.S. leg of the tour. On the cusp of a two-week break, the mood is buoyant and at times downright joyous. You can hear how excited these musicians are to be playing together again and the confidence they are feeling at this point of the tour is reflected in an adventurous setlist.

To start (and apologies in advance for the language, but it feels wholly appropriate to convey the sentiment), Bruce Springsteen sings the shit out of this show. There are vocal highlights in both expected and unexpected places, many the kind of heightened, upper-range reaches that signal when Bruce is in the zone.

During the last minute of “The Promised Land,” it comes in the form of a sweet, unexpected, soaring “Weeeee-oooo.” At the end of a hard-hitting “Adam Raised a Cain,” it’s a shrieking stretch of vocal improvisation loaded with emotion. In “Thunder Road,” “your graduation gown lies in rags at their feet” rises to a gorgeous high register. And the coup de grace is “Youngstown,” when Springsteen holds the final note of “the fiery furnaces of hellllllllll” a full ten seconds. Time it yourself!

Chicago also presents the opportunity to reassess the altered arrangements Bruce and the band explored in ‘99. At the time, subtle changes to familiar songs may have thrown a few people off a bit, as they were coming in with expectations of how things “used to sound.” Listening now, the explorations prove fascinating.

Played but 15 times on the Reunion tour, “Independence Day” has a distinctly different feel and begins with a lovely guitar and pedal steel intro. Similarly, Bruce bends the first verse and chorus of “She’s The One” (performed only 16 times circa 1999-2000) in unexpected directions before the band arrives with stirring force.

Jon Altschiller’s vivid mix captures band interplay and subtle work from every E Streeter, much of which you may have never noticed before, with the apex coming in the form of “New York City Serenade.” This piano-driven epic had gone unplayed since 1975 before making its momentous return during the Continental Airlines Arena run a month earlier, its first of five appearances on the tour.

“New York City Serenade” is arguably the most challenging piece of music in the Springsteen canon, full of twists, turns and musical nuance. Chicago offers a bravura performance, enriched by the contributions of the band (extra nod to Roy Bittan) and Bruce’s fearless lead vocal. It is by turns majestic, enthralling, even astonishing for 1999, with no strings attached as in more recent performances.

“Serenade” is joined by two other special rarities. The show opens with a fierce “Take ‘Em As They Come,” one of Springsteen’s underappreciated rockers. Mercifully liberated from the vault in 1998 on Tracks (the song is also included on 2015’s The Ties That Bind box set), The River outtake gets a rare outing (it has only been performed ten times) with the band fully locked and loaded. To be fair, they are a bit less so on the likable Born in the U.S.A. era b-side “Janey, Don’t You Lose Heart,” which ends with Bruce chuckling “we gotta practice that one,” though it is still wonderful to hear.

Noteworthy as those rare tracks are, Chicago ‘99 pays dividends song after song, be it common or uncommon to a setlist. It is one of those nights where the versions run long (even “Ramrod” goes seven minutes), the crowd response is huge and the band plays hot. Case in point: Danny’s organ and Clarence’s solo in “She’s the One,” plus the Big Man nailing the final note of “Bobby Jean”; a mini cover “Boom Boom” worked seamlessly into “Light of Day”; Nils and Stevie shining on all types of stringed instruments; Garry and Max electrifying “Atlantic City” and pushing the pace all night; Patti taking her solo turns with aplomb during “Tenth Avenue Freeze-Out” and “If I Should Fall Behind.” As it did every night on Reunion, the latter song brings the spirit of the band’s rebirth to life in poignant fashion.

As for Springsteen himself, he sounds like he is enjoying every single minute.

More than 20,000 people saw this show in person and have known ever since what a great performance they witnessed. As for the rest of us: Chicago ‘99, we didn’t know what we were missing.

Follow That Dream

Bruce Springsteen 06/05/1981

Bruce Springsteen and the E Street Band
Wembley Arena, London, England, June 5, 1981

By Erik Flannigan

Though they performed four concerts there in 1975 to promote Born to Run, Bruce Springsteen and the E Street Band’s 1981 European Tour was the first proper visit to the continent. Those three months and 33 shows would go on to form a bond between band and fans that persists to this day.

“Most of the audiences we played to spoke English, at best, as a second language,” Springsteen writes in Born to Run. “It didn’t seem to matter. We played to crowd after crowd who let us know they felt about music the way we felt about it….Playing for our fans overseas was, and continues to be, one of the greatest experiences of my life. It fully started in 1981, and it’s never stopped.”

European audiences had been waiting years to see Springsteen on stage, hungry to witness what their ears had only heard, indoctrinated by bootlegs of the ‘78 radio broadcasts as much as by the official catalog. They kept the faith when the UK leg, scheduled as the start of the tour in March, moved to May, and bought enough tickets to warrant second shows in Stockholm and Rotterdam.

Springsteen had been waiting, too. Promotion of his 1975 London dates spurred some antagonistic press outlets to question the hype surrounding him. Despite playing what in hindsight were two great shows in London (one of which has since been officially released), Bruce and the band left on a bit of a sour note. Shows outside the U.S. were never seriously considered on the Darkness tour, so after a nearly six-year gap, Europe remained unconquered and unfamiliar territory when the tour kicked off in Hamburg on April 7, 1981.

Many of us have eye-opening experiences the first time we visit other countries. Viewed through the lens of a new culture, that which we call home can look quite different. Based on quotes and comments made by Bruce at the time and thereafter, Europe ‘81 catalyzed an already evolving perspective on the country and culture that shaped him.

At his first show in Paris, Springsteen altered the familiar introduction to “This Land Is Your Land” and spoke not of Woody Guthrie, but of Elvis Presley, telling a condensed version of the “jump the fence at Graceland” tale before reflecting on the last time he saw Presley in concert. There, he didn’t play his “rocking stuff,” but instead songs like “How Great Thou Art” and “American Trilogy.”

“In the end,” Springsteen told the French audience, “it seemed like the songs that were closest to him and that he sang with the most heart [were] about the land that he grew up in and…the God that he believed in, who I guess he hoped would save his soul. This is a song about freedom, [about not] having to die when you’re old in some factory or…in some big million-dollar house with a whole lot of nothing pumping through your veins.”

The next show, again in Paris, an introduction to one of Bruce’s most personal songs, “Independence Day,” also evolved, as he spoke of reading Howard Zinn’s The People’s History of the United States and gaining insight into “how things got to be the way they are today and how you end up a victim without even knowing it.” Seemingly inspired by his own comments the night before, Springsteen opened that second Paris show with a new interpretation of Elvis’ “Follow That Dream.”

Nine weeks later on June 5, 1981, Bruce and the band took the stage for the final night of a six-show stand in London forever changed by the experience of the tour. It’s a triumphant performance that summons up everything which had justifiably earned Bruce his reputation up to that point along with a sense of realtime awakening and fresh perspective fostered on the stages and streets of Europe.

The night gets off to a cracking start with “Born to Run” straight into “Prove It All Night,” the latter notable for the kind of heightened vocal (listen to Springsteen reach for a higher register in the second verse and chorus) that usually signals a special show. The invitation of “Out In The Street” is met with the full support of the crowd and then we downshift to the aforementioned “Follow That Dream.”

Springsteen’s “Follow That Dream” completely re-imagines Presley’s song of the same name (written by Fred Wise and Ben Weisman), transforming the King’s lightweight ditty into a stark, meditative hymn. Bruce blends new lyrics with lines from Presley’s cut, interpolating strains of Roy Orbison’s “In Dreams” along the way to create a striking new original.

The London performance captures all of the song’s evocative power and reinforces how Springsteen’s Europe ‘81 performances show early signs of where his songwriting would go next with Nebraska and the demos for Born in the U.S.A., for which he would cut “Follow That Dream.” Its chant-like quality also echoes the Devils and Dust tour’s set-closing cover of Suicide’s “Dream Baby Dream.”

Three songs later, after a stirring “Darkness On the Edge of Town” and “Independence Day,” Bruce’s reflections on Elvis’ final days and the “whole lot of nothing pumping through your veins” from the first Paris show have spawned a new song in its own right, “Johnny Bye Bye.”

Like “Follow That Dream,” Springsteen’s eulogy to the King is a pastiche of musical sources, combining lyrics from Chuck Berry’s “Bye Bye Johnny” with music and several lines from his own Darkness outtake “Come On (Let’s Go Tonight)” (later released on The Promise box set) and recently penned words. “Johnny Bye Bye” would eventually be recorded with an revamped melody and a faster tempo for Born in the U.S.A. (where it was issued as the B-side to “I’m On Fire”), but the original live arrangement bears poignancy and solemnity not retained in the later version.

The new songs are but two highlights in a stalwart first set that also features superb covers of Creedence Clearwater Revival’s “Who’ll Stop The Rain,” Guthrie’s “This Land Is Your Land” and “I Fought The Law,” the latter almost certainly a tip of the cap to The Clash, who so memorably covered the song made famous by the Bobby Fuller Four (and written by Sonny Curtis) two years earlier.

The second set provides a showcase for uptempo River songs, plus the underplayed “I Wanna Marry You” (replete with its “Here She Comes” intro) and a rich “Point Blank” which highlights the interplay of Roy Bittan’s piano and Danny Federici’s organ. Bootleg favorites “Because The Night” and “Fire” are perfectly rendered crowd pleasers. If that wasn’t enough, Springsteen debuts his ardent arrangement of the traditional Cajun song “Jolé Blon,” having recently played on and produced Gary U.S. Bonds’ version from the 1981 comeback album, Dedication. Riding infectious lead vocals, “Jolé Blon” is one of Springsteen’s most charming and perhaps underrated covers.

Springsteen is in complete command as a spot-on “Ramrod” leads into “Rosalita” where Jon Altschiller’s mix neatly positions the audience response with the band introductions, including the always appealing “Spotlight On The Big Man” vamp. Kudos as well to Bruce for putting a UK spin on Rosie’s signature declaration: “This is his last chance, for his daughter to get down, ‘cause the record company, Honey, just gave me the big pounds.”

High-spirits carry over to the encore via an impeccable “I’m A Rocker,” while “Jungleland” provides the show its epic denouement. From there, one last nod to the King with brief, earnest cover of “Can’t Help Falling In Love” and finally “Detroit Medley,” augmented by welcome sprints through “Shake” and “Sweet Soul Music.”

Somewhere near the end of the “Medley,” the multi-track recording of Wembley runs out and a fan recording fills in the rest of the song. It seems fitting that this outstanding performance wraps in the hands of a fan, someone who undoubtedly waited those six long years for Bruce Springsteen and the E Street Band to come home to Europe.

The Business Of The Unexpected: Roxy ’78


Bruce Springsteen and the E Street Band
The Roxy, West Hollywood, CA, July 7, 1978

By Erik Flannigan

Imagine yourself at the Fabulous Forum in Los Angeles on Wednesday, July 5, 1978. Bruce Springsteen is playing his first headlining arena show in the area, a culmination of his growing popularity. During the intermission between sets, a rumor swirls that a special show is happening on Friday night at the Roxy in West Hollywood and tickets are going on sale tomorrow morning. With a capacity under 500, seeing Bruce and the E Street Band at the tiny club will be the toughest ticket in town. What do you do? Leaving early means missing the rest of the Forum show when the rumor may not be true. But if you stay, do you miss the chance to see a once-in-a-lifetime intimate performance? A true Sophie’s Choice.

Bruce Springsteen & The E Street Band 7/7/78 The Roxy, Hollwyood, CA

Perhaps a few did leave before the encores; others rushed straight from the Forum to the Roxy to join the growing queue because the rumor turned out to be true. A small item in Thursday’s LA Times confirmed tickets were going on sale for Bruce’s “first club appearance in nearly three years.” The faith of those who braved the overnight line was likely rewarded as eyewitness reports suggest as many as 1,000 people were waiting when the Roxy box office opened at noon.

“It was like the Beatles when we announced the Roxy,” says Paul Rappaport, Columbia’s west coast promo guy at the time and organizer of the show on behalf of the label. After it quickly sold out, “hundreds of kids showed up in the KMET lobby and at the CBS Records lobby in Century City looking for tickets,” he adds.

Bruce Springsteen & The E Street Band 7/7/78 The Roxy, Hollwyood, CA

Why KMET? Because the silver lining in the Roxy announcement for those who couldn’t attend was that it would be broadcast live on the radio, the first of five such transmissions on the Darkness tour that helped cement Springsteen’s peerless reputation as a live performer.

Each one --The Roxy, The Agora, Passaic, Atlanta and Winterland -- has its merit. They are compelling shows one and all. But the circumstances surrounding the event and the remarkable, risk-taking performance make the Roxy stand apart.

Rappaport recalls a phone conversation with Jon Landau where they discussed how difficult it was to create breakthrough buzz in LA even given a sold-out Forum show. “It is such a big town and there’s a lot going on, so it is hard to get attention,” he told Landau. The manager in turn suggested the idea of a live broadcast on KMET.

The FM rock radio powerhouse had grown more popular than the biggest Top 40 station in the city. “It’s like that scene in Back to the Future where the guy takes two electrical cords, shoves them together and sparks fly,” Rappaport says. “That’s what happens when you marry the greatest thing in rock ‘n’ roll to the greatest amplifier in Los Angeles…. I told Landau it would be amazing.”

The catch was there were only a few of days to pull it off, including buying out the band already booked to play the Roxy that night, getting Ma Bell to lay special high-fidelity phone lines at the venue to send audio to the radio station, as well as procuring a remote-recording truck to handle the mix and--as we’re fortunate enough to hear today--preserve the concert on multi-track tapes.

Springsteen starts the set by acknowledging the ticket challenges, which he owns with humility, a tenor that then gives away to something akin to a coiled snake. “We’re gonna do some rock ‘n’ roll for ya. A WELL, A WELL, A WELL THE LITTLE THINGS THAT YOU SAY AND DO, MAKE ME ALWAYS WANT TO BE WITH YOU HOO HOO.” Inspired by the recently released biopic, Springsteen opens the set with a thrilling surprise, the band’s stupefyingly tight take of Buddy Holly’s “Rave On.” With it, the breakneck pace for the Roxy is established, never to be vanquished.

How fast? If your digital playback device had a pitch control, you’d probably check the setting during “Candy’s Room,” jet-fueled by Max Weinberg. Every song in the first set teems with confidence and conviction, none more so than the sequence of “Candy’s Room” into a flawless “For You,” followed by the next of the night’s shockers, “Point Blank.” It’s a bold debut for the future River track, stunningly performed with early lyric and arrangement variants.

The caliber of performances in the first set carries on in the second, which opens in high spirits with more unreleased tunes, the instrumental band spotlight “Paradise By The ‘C’” and “Fire.” While the setlist serves as a showcase for Darkness tracks and the Roxy versions are uniformly brilliant, when people suggest the ‘78 radio broadcasts drove thousands of new converts, it is because they captured both the music and the magic.

As the set moves to “Growin’ Up” and its delightful “goddamn guitar” story, enchantment turns irresistible. “Growin’ Up” flows into a scintillating “Saint In The City” and the E Street Band crushes it. The new mix by Jon Altschiller makes Springsteen and Van Zandt’s guitars sabre sharp.

If somehow that weren’t enough to convince, we get “Backstreets,” in a version many cite as one of the very best. The mid-song “Sad Eyes” passage (edited on Live 1975-85) is intact here, restoring this masterpiece to its full grandeur. From the charm of “Growin’ Up” through the emotional catharsis of “Backstreets,” religious conversion is complete.

“In the middle of the show, I stepped out because I needed fresh air,” Rappaport recalls. “It was one of the greatest scenes I have ever witnessed in rock: A couple hundred kids with their ears pressed to the wall outside the Roxy; all of the Sunset Strip listening to this broadcast, car after car, windows down, people singing along. It blew my mind.”

There would be more mind blowing to come. Bruce opens the encore with yet another new song, premiering “Independence Day” on solo piano, a monumental moment. Neither “Point Blank” nor “Independence Day” would be played again until September, which makes it all the more astounding that Springsteen chose to debut them in the broadcast. In fact, over the course of the night he performs five unreleased originals, two of them for the very first time, plus another four unreleased cover songs, two them also live premieres.

All this knowing full well--as he proclaims at the top of the second set--that bootleggers and thousands of fans listening at home would indeed be rolling their tapes. When the stakes couldn’t be higher, Springsteen went all in.

“One of the things I had to do,” Rappaport explains, “was tell the sales branch that I guarantee there will be a bootleg. But we had to do it….It’s one of the greatest live recordings of all time.”

When asked about the audacity of debuting brand-new songs, Rappaport replies, “Bruce understood the platform he had. I think he wanted to play those songs because he was always trying to do something different. He didn’t want to repeat himself. I have never seen a guy work harder than him, ever. ”

Rappaport then recounts a tale told to him by Columbia’s then head of sales, who had seen Springsteen backstage at a big show debating doing another encore when it seemed like he had already given the people all they could want and then some. When asked why we was even considering one more song, Springsteen replied, “I’m in the business of the unexpected.”

With the Roxy, the unexpected was broadcast all over town, and via tapes and bootlegs, ultimately to fans the world over.

The encore rolls on after the sublime “Independence Day” and Bruce and the band push the show as hard as she will go. “Born to Run,” “Because the Night” (which was already a hit for Patti Smith), Eddie Floyd’s “Raise Your Hand” and finally, after 12 minutes of cheering, “Twist and Shout.”

From the band to the audience in the club, from the kids outside the venue to the listeners all over Southern California listening on KMET, anyone who experienced the Roxy performance would concur with Rappaport’s final assessment: “I witnessed rock ‘n’ roll history.”

Down The River We Ride


Bruce Springsteen and the E Street Band

Madison Square Garden, New York, NY, November 9, 2009

By Erik Flannigan

Sometime in the early 2000s, playing full albums in sequence, in concert came in vogue. For the final leg of the 2009 Working On A Dream tour, Bruce Springsteen got in on the fun, announcing that for the band’s five-show stand at Giants Stadium, they would revisit a classic album each night, drawn from Born to Run, Darkness on the Edge of Town and Born in the U.S.A., after test-driving the concept with BTR at a show in Chicago.

For fans, there’s a lot to like about a full-album performance. Hearing those songs in that order hearkens back to how many of us fell in love with the music in the first place, playing the albums over and over until we memorized every note and nuance. For Bruce and the band, it was something novel and different, too, shifting the approach to both the songs and sequencing within a concert dynamic. Case in point, “Badlands” and “Thunder Road” had evolved into key tracks used to wind down or close sets; in a full-album context they reverted to their roles as the starting point of the narrative.

In a run of a dozen or so shows starting at Giants Stadium, Springsteen rotated the three albums into his sets, one each night. In truth, many of the songs were in regular rotation anyway (acknowledging outliers like “Meeting Across the River” and “Streets of Fire”), so the new experience was hearing the songs in order, presented as a whole.

But when it was announced that Springsteen would return to Madison Square Garden and feature one-off, full-album performances of The Wild, The Innocent & the E Street Shuffle and The River, stakes were raised. Considerably.

Both albums contain songs that were not part of the regular or even extended concert repertoire, plus a few that had barely made a set list in decades. The River is also a 20-song double album, so to perform it meant devoting nearly two hours of the show to that material alone. An ambitious prospect, and one that made this an unmissable night, because The River is just as much THE album that got many of us into Springsteen as Born to Run, Darkness and BIUSA are.

The River performance at MSG holds its own today as much as it did in 2009, even given the 2016 River tour first leg which saw the album essayed every night. When Bruce and the band hit the road in January 2016 to start the new River tour in Pittsburgh, they were rehearsed and ready. In November 2009, a better operative word might be game. Firing in peak tour form, they were game to perform their most ambitious studio work as a special, one-time event. “It’s too long to do it again,” Bruce quipped at the time.

For those lucky enough to be there (myself included), the result was a marvelous, in-the-moment experience for band and audience, as rarely played songs like “Crush On You,” “Stolen Car,” “Wreck On The Highway” “Fade Away,” “I Wanna Marry You” and “The Price You Pay” roared back to life, fulfilling long-held fan desires and restating the case for The River’s place in the core canon.

It seems contradictory to feel heightened anticipation for a set where you know what 20 songs are about to be played, but there was an undeniable air of expectancy in the building as Springsteen took the stage for the opener, “Wrecking Ball,” which served to remind us Bruce had history with the building. Indeed, MSG was the site of four epic performances on the original River tour in 1980.

“We’re gonna get right to work now,” Bruce then declared, explaining The River’s place as a transitional record, moving into adult themes later explored on Nebraska and Tunnel Of Love. He also said it was also a conscious attempt to balance the dark with the light, or what Springsteen called, “the music that made our live shows so much fun and enjoyable.”

From there we were off, galloping through both ends of the emotional spectrum with equal aplomb. Stalwarts like “The Ties That Bind” and “Out In the Street” felt freshened by renewed context, while Bruce made a delightful meal out of “Crush On You,” “a hidden masterpiece” only played once since 1980. The charm of mid-tempo romantic gems like “Fade Away” and “I Wanna Marry You” resonated and left one wondering why they lay dormant for so long.

Part of the answer is the absence of Stevie Van Zandt from the two major tours that followed the album. His imprint on The River cannot be understated. Heard in the robust, up-close mix by Jon Altschiller, Van Zandt’s guitar playing (which on this night included 12-string electric) and vocals (backing harmonies and shared leads) are essential to this body of work.

For many, “Stolen Car” was the moment they had been waiting for. With Max Weinberg, Garry Tallent, Charlie Giordano and Roy Bittan in particular providing a gorgeous accompaniment, Springsteen played one of his greatest and saddest songs with heart-wrenching austerity.

The River’s high contrast is truly brought to bear in the sequence of “Stolen Car” into the hydraulic pounding of “Ramrod” followed by the exhilarating declaration of “The Price You Pay,” the latter another high point in the show. For its final act, The River winds down through the slow rising crescendo of devotion pledged in “Drive All Night” and, lastly, the stark humanity of “Wreck on the Highway.” On the 2016 tour, “Wreck” was given a more lush and full-bodied arrangement, ending the album sequence on a different note. The 2009 edition retains more of the somber majesty of the original and serves as a plaintive coda to the overall River story.

When Bruce gathered “the guys that recorded the record” and shouted out their missing comrade, Danny Federici, everyone in the room, be it on stage or off, recognized that this reading of The River was a audacious achievement. Nine years on, it still is.

The Tunnel of Love Is Open To Everyone


Bruce Springsteen and the E Street Band
Stockholm Stadion, Stockholm, Sweden, July 3, 1988

By Erik Flannigan

Tracing Bruce Springsteen’s career arc from cult artist to superstar, theater to arena headliner, there’s a case to be made that a series of radio broadcasts on the 1978 Darkness On the Edge of Town tour played a significant role. The five home-recorded, fan-traded and oft-bootlegged concerts from The Roxy, The Agora, The Capitol Theater, The Fox and Winterland captured and ultimately spread the magic of Bruce and the E Street Band’s live show, and seemingly converted thousands to fill arenas two years later on the River tour.

Despite that rich history, there were no live broadcasts from the River tour, the Born in the U.S.A. tour or the U.S. leg of the Tunnel of Love tour. Which is why in 1988, after ten years of radio silence, the announcement that a portion of Springsteen’s July 3rd show in Stockholm would be broadcast live via satellite to the U.S. and the world was huge news for fans.

Like many among us, I tuned in that Fourth of July weekend and heard a potent 90-minute first set that wrapped with Bruce announcing plans to join the Amnesty International tour before wrapping the broadcast portion with a cover of Bob Dylan’s “Chimes Of Freedom” (later released on the EP of the same name). It was the first of hundreds of listens to follow.

Conveniently apportioned to fill a 90-minute cassette tape, the Stockholm broadcast joined the five ‘78 b-casts as the most played live Springsteen recordings most of us had. There was just one problem: as great as those 14 songs were, 20 other songs were played in Stockholm after the satellite feed came down, and short of a crummy audience tape, few of us have had a chance to hear the full show, until now.

Happily, this complete, multi-track recording validates what we all presumed: the Stockholm show was one of the best on the Tunnel tour, offering a passionate, hyper-focused first-set and–freed from the pressure of a global listening audience–a rollicking, playful second set and encore. Looking for a sign of Springsteen’s mood after the transmission ended? How about the inclusion of Gary U.S. Bonds’ ultimate party track “Quarter to Three” for the first time since 1981.

Fondness for the familiar first set is richly deserved. It starts with Bruce inviting the audience in the stadium and at home to come aboard with a wonderful “Tunnel of Love,” now followed by a horn-blasting “Boom Boom’ (with its unabashed sentiment of “I need you right now” replacing “Be True,” performed in this slot for most of the US leg). The brazen John Lee Hooker cover forms a bond of emancipation with what follows, “Adam Raised a Cain,” again propelled by the five-piece Horns of Love. Bruce hadn’t toured with a horn section since ‘77 and their presence is a critical component in the distinct sound and theatrics of ‘88 shows.

Because the broadcast was limited to 90 minutes, the first set showcased key Tunnel tracks, including a majestic “Tougher Than the Rest,” “Spare Parts,” “Brilliant Disguise” and “All That Heaven Will Allow.” Bruce also featured two killer non-album tracks: “Roulette,” unforgivably left off The River, but resuscitated to sound an alarm on the Tunnel tour; and “Seeds,” another take on the plight of working-class Americans and this time they’re pissed.

Perhaps the surprise highlight of the first set is “Born in the U.S.A.” Separated from its namesake tour and attendant misinterpretations, the song’s deep-seated anger is rekindled. Listen to Bruce’s shrieks of angst before Max’s drum crescendo, echoed later his own impassioned guitar solo. The story has grown more personal, too, as Springsteen adds new flashback lyrics after the final verse: “I just want your arms around me/I see the fire from the sky/I need your arms around me.” A stunning performance.

Set two is a totally different animal, but no less satisfying. I have often wondered how a seemingly long-forgotten song returns to the set, and there is no better example of this than the sudden reappearance of the instrumental “Paradise By the ‘C’” which opens the second set, after premiering four nights earlier in Rotterdam. What prompted its resurrection, after going unplayed since the Darkness tour? Sure, it suits the horns, but then again, there was no horn section in ‘78.

Regardless, it is a welcome showcase for Clarence and the Horns of Love, and sets the tone for a highly entertaining second set that milks the expanded band lineup and staging dynamics for all they are worth on songs like “You Can Look (But You Better Not Touch)” (which begins with a long, bit of musical teasing and showmanship often referred to as “Don’t You Touch That Thing”), “I’m A Coward” (Springsteen’s comic rewrite of Gino Washington’s ‘60s original) and a chock full o’ horns encore sequence of “Sweet Soul Music,” “Raise Your Hand,” the aforementioned “Quarter to Three,” and the inevitable last song for a show this joyous, “Twist and Shout.”

There are a few serious moments in the back half, among them the fine ‘88 arrangement of Bo Diddley’s “Who Do You Love?” into “She’s the One,” the first “Downbound Train” of the tour, and an unflinchingly earnest reading of Elvis’ “Can’t Help Falling in Love.” Interestingly, Stockholm ‘88 has a connection to Springsteen on Broadway in that the solo acoustic version of “Born to Run” that Bruce is currently performing was first played in that arrangement on the Tunnel tour, a fine take of which is captured here.

Stockholm ‘88 has always been a fan-favorite because of the simulcast. Now restored to full length and remixed from the master tapes, it rightly joins Springsteen’s other legendary radio broadcasts as one of the best concert recordings of his career and a great representation of the Tunnel of Love tour’s European edition.

Lotus – Live at Red Rocks DVD Now Available

Lotus Live At Red Rocks DVD

Lotus will release its first full concert film, Live at Red Rocks September 19, 2014, on Monday, September 4th. The concert features a set called Talking Heads Deconstructed with guest Gabe Otto singing Talking Heads songs done in Lotus’ signature style.

“The origins of this show start earlier in 2014 when we were approached by a festival to put together a special set. After a few different ideas, we landed on the Talking Heads Deconstructed idea; mixing in our styles and melodies,” states Jesse Miller. “I was little bit wary of the idea initially because the Talking Heads are covered by so many bands in our scene. But, when it all came together, I thought we were able to give these covers a unique spin that really made these songs feel like our own.”

While most Lotus shows include sampled vocals when necessary, the Talking Heads set features Gabe Otto of Denver’s Pan Astral taking on the role of the group’s frontman, David Byrne. “Gabe brought an energy to the stage that took the performance to an even higher level,” says Miller.

The Talking Heads’ music has been a touchstone for Lotus since the beginning. Their early minimalist-CBGB rock style was steeped in groove, and as they added synths, more percussion and African-inspired rhythms, that core groove held strong even as the musical orbit expanded. The same concept holds true for Lotus after being a band for 17 plus years.

Miller says, “I did not envision a three-year long process getting the licensing to use the Talking Heads’ songs on the video, but I am glad our team finally pulled it off and we can share this show.”

Members of Lotus grew up just miles away from Red Rocks Amphitheatre with some even having their high school graduation there. When the band headlined the iconic venue for the first time in 2012, it was the realization of a longtime dream. They become more comfortable as they returned to Red Rocks and quickly made the venue their own.

“For the 2014 production, we used a lighting design that involved draping hundreds of LED bars around the stage. The position of all the bars were mapped into a software program that allowed 3D patterns used. It took so long to set up, but result was unlike any other stage I’ve seen,” Miller recalls.

The DVD is available for preorder at nugs.net.   Buy DVD – $19.95

Audio only of the show is also available in multiple formats at nugs.netBuy Audio

Action In The Streets 1977

Never Heard Before ’77 Bruce Springsteen & The E Street Band

2/7/77, Albany, NY and 2/8/77 Rochester, NY

By Erik Flannigan

Bruce Springsteen’s national breakthrough came in 1975 with the release of Born to Run. The album’s supporting tour commenced that July and continued in multiple phases through the spring of 1977 when, after playing some 170 shows, Bruce and the E Street Band finally returned to the studio to record Darkness On The Edge Of Town.

Springsteen’s performances in this transitional era represent some of the most fascinating and vital of his career, with evolving setlists that dug deep into his first three albums, embraced inspired cover songs and, by early 1976, began testing new material intended for Bruce’s next album.

The final stretch of the 21-month trek was an eight-week run in early 1977 that saw Bruce and the E Street Band again augmented by the Miami Horns, the four-piece horn section that first joined the tour in August 1976.

While Springsteen’s 1975 performances are captured brilliantly by the official Hammersmith Odeon DVD and live album along with the Philadelphia 12/31/75 download, the 1976-77 stretch of the Born to Run tour isn’t nearly as well documented. In fact, until now, no soundboard tape of the ‘77 tour has ever surfaced among collectors.

Which is what makes this pair of newly recovered and nearly complete soundboard recordings of the tour’s first two shows–Albany, NY, February 7 and Rochester, NY, February 8–such a significant addition to Springsteen’s live performance history. They provide the first high-quality tapes from a compelling period when no multi-track recordings were made. And in the case of opening night in Albany, not even an audience tape has ever circulated before among fans.

Across the two nights we are treated to a trove of significant performances, beginning with Albany’s audacious opener, a true work-in-progress version of “Something In The Night” featuring remarkable alternate lyrics. Another unreleased song, the freshly penned “Rendezvous,” pops up early in both sets, along with the epic cover of The Animals’ “It’s My Life” and the Miami Horns/Clarence Clemons spotlight number, “Action In The Streets.”

Amazingly, this download marks the first ever official release of “Action In The Streets.” The Springsteen original was performed nearly every night of the ‘77 tour, but would never be played again with the E Street Band. There is also no known studio recording of the delightful soul rave-up, making its inclusion on these tapes all the sweeter in a version so embryonic, the chorus does not yet feature the song’s eventual title!

The two shows do vary slightly, with Albany getting a wonderful and spirited “Growin’ Up,” while Rochester pays tribute to Eddie Floyd with a cover of “Raise Your Hand.”

But for many, the indisputable highlight of the ‘77 tour was its stunning performances of “Backstreets,” which featured an expanded mid-song narrative of betrayal that teems with raw emotion and reaches its crescendo, as captured gloriously on both recordings, when Springsteen shouts repeatedly with mesmerizing conviction, “You lied!”

Albany also includes a striking solo-piano led version of “The Promise” (moved to the encore and joined in progress the next night in Rochester), perhaps the greatest Springsteen original penned in the era and yet another gem uncovered on these remarkable Front of House mix tapes recorded by Chas Gerber. While there are a few cuts due to tape flips, between the two shows we get a complete version of every song performed.

Purchase both shows on CD or Download in MP3, Lossless, or Hi Res Formats at live.brucespringsteen.net.

Checkout these other great press clips around this release

 

nugs.net archives: The String Cheese Incident – 10/30/99

The String Cheese Incident – 10/30/99

It is our pleasure to bring to you, handpicked from the archives, one of the classic shows from Colorado’s own: The String Cheese Incident. With a catalog of 535 shows here at nugs.net, you can enjoy countless hours of the cheesiest jams possible. This show proved to stand out from the rest and is a great example of String Cheese showing off their skills and original style. This “Incident” features sit-in performances and some of the best covers this band can muster. After reviewing numerous shows from this run in 1999, we were immediately impressed with this show and its entire set list and had to include it as a featured “from the archive” for y’all.
Opening with a great rendition of “Miss Brown’s Teahouse,” the show keeps going with classic String Cheese songs from their early catalog. 1999 proved to hold some real gems from this band and you can find plenty of them performed in this very show. This show includes some rarities and even Keller Williams sitting in on bass guitar for Keith Mosley on “Suntan.” Any SCI fan can find something to like within this first set of incredible live music. “Suntan” gives way to the classic Steve Miller cover, “The Joker,” but String Cheese makes it their own, adding reggae/island influences to this version.
Set two does not disappoint, opening with an 18 minute performance of “The Chicken” with great solos and flowing jam structures. This version of “I’ve Just Seen A Face” is one the best covers from SCI and is a must-check-out for any diehard SCI fan—it is full of improvisation and danceable riffs that we keep coming back to listen to. “Vacate” includes another sit-in from Keller Williams; he feels like another member of the band during the time period when this show was performed, and even today. This song is a perfect example of Keller Williams and String Cheese meshing together as a cohesive unit. After countless sit-ins with one another, this show still stands out as a topnotch performance. Obviously, whenever Stevie Wonder’s “Boogie On Reggae Woman” is covered, everyone feels like dancing—and this cover is no exception. The encore “Footprints” is a jazz-fusion jam, which is highlighted in this high-quality version. String Cheese continues to go full force with Aerosmith’s ‘70s rock anthem “Walk This Way”; but again they change it up and add their own country-western-bluegrass style.
18 years later, The String Cheese Incident continues to mesmerize audiences with their spectacular live shows. They have even influenced the next generation of jam artists out there today and have pioneered this industry. You can truly hear the change and growth throughout all of SCI’s extensive collection of live shows on nugs.netThe String Cheese Incident has remained in the top echelon of live music because they deliver these amazing performances every time. Sift through the shows yourself—as there’s plenty more worth experiencing—but do check this show out.

nugs.net archive: Panic Halloween ’10

Widespread Panic –New Orleans, 10/30/10

We are kicking off our new blog by diving into the archives to surface some of our favorite high-quality downloads available on nug.net.  With 895 downloads in the archives, it’s hard to choose just one show that encapsulates what Widespread Panic does. Widespread Panic has been a heavy hitter in the Jam community for 30 years and are the heart of southern improvisational music. After narrowing down the many choices of killer shows, we found one that has all the right goods to bring to you. Holiday shows are always a special time with Widespread Panic but nothing comes close to their Halloween runs , which seem to be filled with a never ending supply of sit-ins, covers and rockin’ setlists.

New Orleans, 10/30/10 and the days surrounding it, exemplify what Widespread Panic does best. With great song selections from their own catalog and even a sit-in from Dr. John, the Night Tripper himself; only in New Orleans. This show has it all, with covers of Talking Heads “Papa Legba,” JJ Cale’s, “Ride Me High” and a blazing “Spanish Moon” originally by Little Feat, that is jammed out to extensive proportions.

The show also features Jimmy Herring on lead guitar. While Jimmy was still fairly new to the band after the passing of original guitarist, Michael Houser, Herring took to Panic like a fish in water and he shows his masterful guitar work throughout this entire performance and so does each member of the band, making this show a classic on nugs.net.

Stand out original songs include: a first set, “Dirty Side Down,” a newer song from that performance that has since become a classic. It’s very interesting to hear the development of these songs throughout the years and we can hear these changes within the hundreds of shows in the archives. “Henry Parsons Died” shows jazz flavored solos and incredible bass playing from Dave Schools. The second set opens with an always welcome, “Climb To Safety” as the band says, “climb aboard!” Into “Chilly Water.”

Dr. John enters the stage and plays a great rendition of “Right Place, Wrong Time” that has raw energy and those voodoo vibes that only he can bring. They continue with, “Dream Warrior.” Here Widespread shows what they do best while playing with the jazz/blues legend. The 12 minute “Arlene” is relentless and anytime Panic plays this song watch out, you’re going somewhere! The spectacular show closes with a Grateful Dead staple, “Creampuff War.”

It really doesn’t get much better than this and I am positive there will be many more shows from Widespread Panic in the upcoming posts.

Be sure to check out this recording of Halloween 2010 and so many more on nugs.net.  This soundboard recorded professionally mixed show is available for purchase as downloadable mp3, lossless, and CD shipped to your door.  It’s also available on demand.    Rock ON!

-Jam Band Purist