Category: New Releases

Bruce Springsteen and the E Street Band

Arrowhead Pond Of  Anaheim, Anaheim, CA, May 22, 2000

By Erik Flannigan

We often cite the Reunion tour as a demarcation between the “classic” and “modern” Springsteen eras. Yet this April already marks 23 years since the start of the Reunion tour in Barcelona. Do the math, and the E Street Band’s return in 1999 is inching ever closer to being the midpoint of their overall career—a line to be reached in 2026, at which point it will have been 27 years from the start of Reunion; and Reunion itself was 27 years after the band formed in 1972. Time flies.

Springsteen spoke movingly from the stage in 1999-2000 of the band’s rebirth, and we’ve seen that play out in memorable tours and albums ever since. But Reunion was a celebration of what came before and the rediscovery of the breadth and depth of the music Bruce and the E Street Band made together. That exploration manifested in setlists that saw Springsteen performing brilliant “lost” songs finally released on Tracks in 1998, revisiting deep catalog cuts unplayed in decades, changing up the arrangements of familiar material, and still throwing in the occasional surprise cover version.

Anaheim 5/22/00 ticks all four boxes and serves as an exemplar of what the Reunion tour had on offer. This second night of two opens with one of those marvelous outtakes, “Take ’Em as They Come,” recorded for The River. For those of us who purchased dodgy vinyl and traded hissy cassettes of unreleased Springsteen music in the years before Tracks, it is still miraculous to hear “Take ’Em as They Come” in the show, sounding every bit the epic rocker it was always destined to be. The band is hot out of the gate, and the song’s false ending, with Garry Tallent tipping his hat to The Beatles’ “Rain” and Clarence Clemons bringing the song home with his soaring sax, is immensely satisfying.

Following that promising start we get an inviting reading of “The Promised Land,” layered with lovely piano tinkling from Roy Bittan, and a rousing “Two Hearts” that shines the spotlight on Stevie Van Zandt, whose vocal contribution represents the beating heart of the reunited band.

A nasty guitar riff launches “Darlington County,” which nearly veers into the Rolling Stones’ “Honky Tonk Women” for several bars before Bruce turns the wheel back to his own Born in the U.S.A. lane. Nils shares the mic for the “Hey little girl, standing on the corner” verse, and Van Zandt’s guitar drives a crunchy, extended outro. Once keyboard-dominated, the Reunion “Darlington County” is all about axes.

Another of those lost songs, “Rendezvous,” steps to the plate, reminding us of Bruce’s pop bona fides and the magic in those chiming guitar chords. Patti Scialfa’s vocal turn helps “Rendezvous” rise, and there’s a fun twist in the arrangement towards the end when the band falls out for three bars of, “I want a rendez….I want a rendez…I want a rendezvous.” There’s a sweet section of Danny Federici organ swirls, too, as the song skips to a charming close.

Another recurring thread on the Reunion tour was the introduction of a country music influence in the arrangement of some songs, notably “Factory” (at other shows, Bruce applied similar country strokes to “Mansion on the Hill”). Nils plays lap steel guitar, Danny accordion on this new arrangement that showcases strong duet vocals from Scialfa. , and that Nashville sound extends to create a fresh intro to “Independence Day.” It’s a doleful take on The River’s father-son tale, measured and meaningful, with lovely playing from Bittan and a spirit-lifting solo from Clemons.

The center of the core Reunion tour setlist was the five-pack, and we get a solid one here: “Youngstown,” “Murder Incorporated” (another of the “I can’t believe they’re playing it” outtakes we now take for granted), “Badlands,” “Out in the Street,” and a snippet-laden “Tenth Avenue Freeze-out” that dips a toe into Curtis Mayfield’s “It’s All Right,” Al Green’s “Take Me to the River,” Springsteen’s own “Red Headed Woman,” and Sciala’s solo “Rumble Doll.” In Bruce’s sermon, this line in particular stood out: “I want to go to the river of joy and live there.” Easier said than done, as we learned in Springsteen on Broadway.

The de facto second set opens with the first E Street Band performance of Human Touch’s “Roll of the Dice,” co-written, in case you’ve forgotten, by Bruce and Roy. Steve’s call-and-response vocals and The Big Man’s sax solo lend a distinctly River feel to the E Street rendition of the song, which was surely being test-driven for inclusion in the Las Vegas show five days hence. Springsteen appears to love the result, getting his money’s worth by telling the band to go “one more time, take it around.” “Roll of the Dice” has been played but a dozen times by the ESB, making its inclusion here all the more sweet.

Rarer still is the country version of “No Surrender,” which goes even further than “Factory” with Nils on pedal-steel guitar, sparking an arrangement that is more Nashville Skyline than Nashville, and more specifically nods to Bob Dylan’s “I Want You” from Blonde on Blonde, a song Bruce covered back in 1975. The slowed down, wistful arrangement debuted in Cleveland in November 1999 and was only played seven times on Reunion.

Preview of “Meeting Across The River” – Bruce Springsteen and the E Street Band

It was surprising to learn “Racing in the Street” was only performed 15 times on the Reunion tour, which feels low for such a significant song in the catalog. Bruce sings it a bit differently than previous tours, with a similar vocal cadence to “Thunder Road” circa 1999-2000 that takes some getting used to. Hearing it now, what comes through is a deep weariness as the narrative unfolds like a distant memory. The band sounds sublime, especially Danny, Roy, and Clarence’s rich baritone sax notes.

Time to lift spirits, and “Light of Day” does just that—all the more fun with a brief foray into The Rivieras’ “California Sun” (written by Henry Glover). Rollicking continues in the encore with a loose “Stand on It” (again featuring some twangy slide guitar), a true blue “Bobby Jean” with strong sax work from Clemons, “Born to Run,” “Thunder Road,” and the majestic “If I Should Fall Behind.”

“Land of Hope and Dreams” signals the night is coming to end, but not before one last surprise. Seemingly out of nowhere, the band breaks into Van Morrison’s “Gloria,” which starts with a suitably filthy guitar riff and full-throated vocals from Bruce. Stevie and Clarence join in to sing on the chorus. “Gloria” rolls straight into a long “Ramrod,” powered by Clarence’s fat sax notes, Max Weinberg’s big snare and hi-hat hits, and the big bottom of Garry’s bass.

Given how much fun Bruce and Stevie have singing “Ramrod,” it feels like it might never end, but after seven crunching minutes, like all good things must, “Ramrod” grinds to a close to end the evening.

Lost songs, rare tracks, new arrangements, and covers, Anaheim 5/22/00 has them all and adds yet another phase of the ever-evolving Reunion tour to the Live Archive series. 

Bruce Springsteen and the E Street Band

LISTEN NOW: Nassau Coliseum, Uniondale, NY – December 28, 1980

By Erik Flannigan

The recently released recordings from 1979’s No Nukes concerts provide a riveting snapshot of a significant moment in time: the transition between 1978’s Darkness on the Edge of Town and 1980’s The River. The crackling electricity the No Nukes recordings emit is due in part to Springsteen packing the energy and excitement of a full show into a mere 90 minutes.

If the No Nukes set was a 13-song sprint, Nassau Coliseum 12/28/80 is a 33-track marathon, but a film analogy—16mm to 35mm—might be the more apt one. At an expansive 3 hours and 25 minutes, the River show captures Bruce and the E Street Band in widescreen, cinematic mode, in both scope and substance.

Given Springsteen was supporting his first double album and its 20 fresh songs, the River shows grew longer out of necessity. But the subject matter itself justified the expansion. “Independence Day,” “Stolen Car,” “Wreck on the Highway,” “Point Blank,” and “The River” are deep, narrative journeys, with Springsteen’s characters confronting existential questions and adulthood’s heaviest inflection points.

As a result, storytelling runs deeper and tone sustains longer in River shows than their predecessors. Songs like “Backstreets” and “Racing in the Street” were second-set emotional showstoppers in 1978, but contrast that with the somber trio of “Stolen Car,” “Wreck on the Highway” and “Point Blank” in the back half of 12/28/80 and there is no debate where lives are truly on the line. The Romances have given way to the Tragedies.

Like the album itself, River shows offer a compelling contrast between explorations of the dark recesses of human existence and life-affirming songs of release—a double feature, if you will, of Bergman and Capra. By way of example, Bruce follows the aforementioned trio of “Stolen,” “Wreck” and “Point” with a resuscitating take of “The Ties That Bind” when the audience needed reviving.

The expanded set also allowed Bruce to retain much of his key canon while still introducing an unprecedented amount of new music to his audience. Nassau 12/28/80 features 13 songs from The River while still carrying more than half of Born to Run, five songs and two outtakes from Darkness, key covers (“Who’ll Stop the Rain,” “Detroit Medley”), classics (“Rosalita,” “For You,” “Sandy”), and a couple of seasonal specials.

One of those, “Merry Christmas Baby,” gets the show off to a (holiday) spirited start, with Bruce channeling Otis Redding’s version in fine, lively voice and Clarence Clemons blowing a great saxophone solo.

Like most “special” shows, the telltale sign of Springsteen’s heightened, feeling-the-moment vocals can be found in many songs including excellent readings of  “Darkness” and “Prove It All Night” in the first set, “For You” (such a fun first verse) and even “Ramrod” and “You Can Look” in the second set.

He’s feeling it—and who can blame him? The River just hit No. 1 on the Billboard Top 200, and Bruce was playing the first of three sold-out, impossible-ticket arena shows in his biggest market. 

The delightful performance of “For You” in the second set yields to emotive guitar strumming, the prelude to a heart-rending “Stolen Car.” It’s a particularly spare and moving arrangement of one of the saddest songs in Springsteen’s catalog, wonderful to hear so faithfully played. Garry Tallent’s bass part on “Stolen Car” is one of his finest contributions ever.

The trilogy of tears continues with “Wreck on the Highway,” which manages to convey warmth and desolation at the same time. The E Street Band’s delicate touch serves the song well, with Roy BIttan’s piano and Danny Federici’s organ weaving counterparts, while Stevie Van Zandt’s guitar rings dolefully in the right channel. Hauntingly beautiful.

“Point Blank” completes the 20-minute trip through the heart of darkness, its narrative tone resigned and resolute but no less emotionally captivating. “Point Blank” is more overtly dramatic and emotionally detached than “Stolen Car” or “Wreck on the Highway,” which makes it a thrilling showpiece, rendered here with controlled bravado and sublime E Street musicianship.

While each Nassau concert stands on its own, the one song featured in 12/28/80 not played at the next two shows is “Backstreets.” Van Zandt offers novel fretwork in the song’s intro and brilliant playing throughout, distinguishing the River tour versions slightly but meaningfully from prior incarnations. Springsteen sings with full conviction and, together with Max Weinberg’s powerful drumming, “Backstreets” becomes the set’s thematic denouement and sonic crescendo.

A few other songs from the main set merit special mention. Creedence Clearwater Revival’s “Who’ll Stop the Rain” is played for only the third time ever, and the excellent Nassau version further cements the song’s status as a hand-in-glove fit with the E Street Band and one of their all-time best covers. Woody Guthrie’s “This Land Is Your Land” premiered this night, with Bruce telling the audience about reading Joe Klein’s book Woody Guthrie: A Life and reminding them that the song was written as “an angry answer to ‘God Bless America.’” We’re also treated to a unique “Hungry Heart” featuring Mark Volman and Howard Kaylan, better known as Flo & Eddie, recreating their background vocals from the studio version.

The final hour of Nassau is immensely satisfying, beginning with “Rosalita” followed by a delightful “Santa Claus Is Comin’ to Town” and “Jungleland,” chock full of those heightened Bruce vocals and a distinctive Van Zandt guitar solo, while the big Big Man smashes the first note and never wavers in his own solo spotlight. “Born to Run” and the “Detroit Medley” (including a long chunk of “I Hear a Train”) bring us home and conclude a quintessential River tour performance in all its cinematic glory.

Bruce Springsteen and the E Street Band

LISTEN NOW: Fenway Park, Boston, MA, August 15, 2012

By Erik Flannigan

The bigger the venue, the more vibe matters. That’s not to say stadium shows in the US and especially Europe aren’t filled with longtime fans hanging on every note. They always represent, holding up signs and requesting songs. But stadium concerts are inherently more inclusive, pulling in the one-show-per-tour types, their friends, and folks who just want a fun night out at the biggest event in town.

An audience composed of those who own Tracks and those who perhaps only own Greatest Hits can spur discord. How do you construct a show that delivers the friendly and familiar while still managing to delight those who know just how many times a particular song has been played on the tour?

Boston 8/15/12 stands as a model of how to satisfy both camps and then some. On a warm (and later wet) night at Fenway Park in Boston, Bruce throws a summer party where all are welcome and those with whom he and the band have a long-term relationship are recognized and rewarded.

Apropos of the venue, the show opens with a recording “Take Me Out to the Ballgame,” sending the cue that this is a participatory event. Roy Bittan and Bruce then surprise the Fenway faithful with another prelude: the stripped-down, piano arrangement of “Thunder Road” that opened shows in 1975. 

It is fascinating to hear this version of “Thunder Road” (familiar to many as the first song on Live/1975-85) performed 37 years later by the same musicians—reinterpreting yet again their Born to Run tour reinterpretation of the original. In 2012, Bruce’s voice has a distinctly mature timbre, and his cadence and lyrical emphasis have shifted. Roy’s piano playing is less Broadway, still carrying the melody but in a slightly abstract expression. “Thunder Road ’75” is the first of three direct nods Bruce makes at Fenway to the way particular songs were performed in the ’70s.

Out of that sublime opening, Bruce declares, “Let’s start with the summertime hits!” The party has begun. In quick succession, we get “Hungry Heart,” “Sherry Darling,” a cover of Eddie Cochran’s “Summertime Blues,” and a request granted for Bruce’s own “Girls in Their Summer Clothes.” Springsteen’s controlled and precise singing on the Beach Boys-flavored “Summer Clothes” is impressive, especially given he had only performed it once before on the tour.

Boston 8/15/12 also does right by Springsteen’s then-current album, Wrecking Ball, hitting “We Take Care of Our Own,” “Death to My Hometown” and the title track in the first half of the set, plus “Shackled and Drawn” a couple of hours in. Along with “My City of Ruins,” the five songs form the spiritual backbone of the Wrecking Ball set and showcase the rich, rootsy sound of the expanded E Street Band.

Tracks-owning, sign-holding fans certainly got their money’s worth in an extraordinary five-song sequence that kicks off with a request for “Knock on Wood.” “If we don’t know this one we should be castigated,” says Bruce, who can be forgiven for not recalling that the band played “Knock on Wood” once before. At a 1976 show at the Ellis Auditorium in Memphis, Bruce invited “Knock on Wood” writer and singer Eddie Floyd to perform the tune with the E Street Band.

Some 36 years later, mental memories have faded but muscle memory remains, and the band performs “Knock on Wood” with aplomb. Max Weinberg is on point, Stevie Van Zandt channels Steve Cropper, and Bruce has big fun with his vocals. As for the horns, as Springsteen himself says, “Any self-respecting horn section should be able to pull this off.” 

Next up, “for our old, old, old, old, old fans,” a marvelous, horn-led “Does This Bus Stop at 82nd Street?” The sprightly rendition features Bruce calling out the arrangement to the band. There’s even time for a percussion solo from Everett Bradley. 

“We’re gonna go further back now,” Springsteen proclaims. “Back in the day we were opening up for a lot of unusual bands. We opened up for Anne Murray…Black Oak Arkansas…Brownsville Station…Sha Na Na…The Eagles…Chicago. Nobody knew who you were…You had to catch people’s ears, so we came up with these very convoluted songs that had a lot of moving parts. This was our first showstopper.”

That early-’70s showstopper, before “Rosalita” began serving the purpose, is the rollicking “Thundercrack.” Its thrilling twists and turns work as well to attract those unfamiliar in a stadium as they did in the clubs back in the day. Bruce gives props to his history in Beantown at the start of the song, saying that, unlike some other cities, “This is Boston, you guys are gonna know this one.” Following ten minutes of “Thundercrack,” Bruce honors another request many of us would co-sign with the second performance of “Frankie” on the tour and only the fourth of the modern era. 

“Frankie” dates from the period between Born to Run and Darkness on the Edge of Town, having debuted on stage in early 1976; the song was then recorded, but ultimately not used, for both Darkness and Born in the U.S.A. The lilting, romantic mini-epic was finally released on Tracks and returned to the set for one-off appearances in 1999 and 2003 (at Fenway, in fact) that didn’t quite land.

The Boston performance of “Frankie” is enchanting, rearranged from the ’76 edition to include the horns and feature a new guitar solo in place of Clarence’s original sax break. Like “Thundercrack,” the sweet, hooky “Frankie” has the power to enchant newcomers and satisfy those who have longed to hear it played live.

If “Frankie” wasn’t enough, what came next was the coup de grace. There was a time when it seemed unimaginable Springsteen would play songs he hadn’t performed since the ’70s or early ‘80s. I followed the Tunnel of Love tour for two dozen dates in 1988, a stretch when the setlist remained unusually static and single additions to the show were regarded as momentous.

I’m trying to imagine this conversation taking place in 1988:

Prophetic Person: “In the future, there will be a show in Boston where Springsteen plays these five songs in a row: a cover of “Knock on Wood,” “Does This Bus Stop at 82nd Street?,” “Thundercrack,” and “Frankie.”

Me: “What? Are you insane? There is no WAY that will ever happen. And I thought you said five songs.”

Prophetic Person: “The fifth is “Prove It All Night” with the 1978 intro.

Me: “SHUT THE FRONT DOOR!”

Springsteen playing songs he hasn’t done in decades is one thing; resurrecting arrangements from a specific tour is quite another. Yet thanks to some superfan in Spain who held up a sign at the Barcelona show in May, Bruce revisited the Darkness tour’s long and legendary piano-guitar intro to “Prove It All Night.”

The Boston show marks the first time the intro has been played in the US since a still-unexplained, two-show resurrection in Los Angeles in 1980. While not as fully developed as the original, the spirit of “Prove It All Night ‘78” remains intact, as brooding piano and searing guitar build to a crescendo to start the song. Coupled with “Thunder Road ‘75,” Boston 8/15/12 is the next best thing to a time machine.

A ’78 double-shot ensues with a bold “Darkness on the Edge of Town,” then a moment of fun. At the start of “Working on the Highway” we hear an extended section of acoustic guitar strumming. What the Archive audio doesn’t capture at that moment is Bruce chugging a beer and snarfing a hot dog, both of which he’d been jonesing for all night.

Before the main set ends, we get another echo of famous song arrangements of the past. Of course it is too much to call it “Backstreets ’78”; Bruce does not revisit the “Sad Eyes” interlude from the Darkness tour. But by incorporating lines from Suicide’s “Dream Baby Dream,“ a cover that served as the striking show-closer for much of 2005’s Devils & Dust tour, he does take the middle break of “Backstreets” to a place reminiscent of that same stream-of-consciousness “Sad Eyes” feeling in an epic 10-minute reading.

The Fenway 2 encore opens with a brief, acoustic “Who’ll Stop the Rain,” acknowledging the drops that began falling mid-show, and slips neatly into “Rocky Ground,” the opening chords for which have never sounded more like “One Step Up.” Singer Michelle Moore crushes her vocals, as she did every night “Rocky Ground” was played.

After “Born to Run,” an abridged “Detroit Medley” yields to “Dancing in the Dark” before the tour premiere of “Quarter to Three.” The Gary U.S. Bonds classic is another sign request that Bruce quickly teaches to the backing singers, aided by the audience singing “Doh, doh” before the band has even begun. It’s yet another tip of the cap to the classic era, as “Quarter to Three” has only been played six times since the band reunited, and this might be the best of them.

As history dictates, Bruce shouts, “I’m just a prisoner of rock ‘n’ roll” to end the song, before shifting into “Tenth Avenue Freeze-out.” But there’s still time for one more. The Dropkick Murphys’ Ken Casey joins Bruce at the mic, trading vocals on “American Land” to close a Grand Slam night when Bruce gave the party people and the diehards everything they could have dreamed of.

Bruce Springsteen and the E Street Band

LISTEN NOW: Giants Stadium, E. Rutherford, NJ, August 22, 1985

By Erik Flannigan

Bruce Springsteen has enjoyed many a Jersey homecoming: Red Bank 1975; Passaic 1978, Meadowlands 1981, 1984, and 1999; Asbury Park and Freehold 1996, to name only a few. But surely none was bigger than the six-show run Bruce and the E Street Band performed at Giants Stadium in the summer of 1985, arguably the zenith of the Born in the U.S.A. Tour. 

Springsteen’s Giants Stadium stand kicked off on Sunday, August 18. It was a tight load-in for the crew (something Bruce acknowledges at the end of this show), as the NY Giants played a preseason NFL game there the night before, making for a quick turnaround from football to on-field concert. As I’m sure at least one of you is wondering: the Giants beat the Green Bay Packers that night by the extraordinarily rare score of 10-2.

Bruce and the band went on to perform at the stadium Sunday and Monday, took Tuesday off, and returned for shows Wednesday and finally this performance on Thursday. All four nights were professionally recorded, with songs from August 19 and 21 later featured on Live/1975-85. This release marks the debut of the August 22 recording. After a brief trip to Toronto for two shows north of the border, the Giants Stadium homestand wrapped with gigs on August 31 and September 1. The remote recording truck did not return for the last two concerts.

Needless to say, each of these Giants Stadium shows was an incredibly tough ticket. Sure, Bruce and the E Street Band were playing a much bigger venue than nearby Brendan Byrne Arena, where they did ten nights the previous summer, but the fanbase had also increased exponentially. The narrative of New Jersey’s local hero returning home as the biggest rock star on the planet was plastered across newspapers, radio, and television.

As such, the mood of the Giants Stadium stand is decidedly celebratory. The people came for a party, they came for Born in the U.S.A., and Springsteen didn’t disappoint. At the 8/22/85 show, he performed ten of the album’s 12 songs, plus the nearly-as-popular b-side, “Pink Cadillac.” Fratello di sangue Stevie Van Zandt re-joined his bandmates for a rollicking encore that only slowed down for the Garden State’s other unofficial anthem, Tom Waits’ “Jersey Girl.” Yet even as he met the fans’ mandate, Springsteen found ways to weave moments of musical beauty into the merriment. 

The first set opens big as it had to, with “Born in the U.S.A.,” “Badlands,” and “Out in the Street” giving the people exactly what they came for. Credit Bruce for retaining the mini-Nebraska set established in shows the prior year, even in this enormous setting. August 22 features “Johnny 99” and a crackling “Atlantic City,” the latter marked by a great Springsteen vocal (“Debts that no honest MAN COULD PAY”) and fine guitar work from Nils Lofgren. The kindred “Seeds” fits perfectly with the Nebraska songs, and all three are delivered at stadium scale complementing their acoustic roots.

The contrasting performance of “The River” that follows is more intimate and a standout in the set, riding superb piano work from Roy Bittan. “I’m Goin’ Down” and “Working on the Highway” came into their own in 1985, and these are exemplary versions, perhaps as good as either ever got, with “I’m Goin’ Down” in particular fully developed including some wonderful guitar at the end that you’ll likely find unfamiliar.

“Trapped” sets a new mood and takes the audience on a dynamic ride up, down, and up again—you can feel the entire stadium rise for the song’s exalted crescendos. The remainder of the first set goes down easy, with a fun call-and-response preceding “Glory Days” (the best of which is “Guba, Guba, Guba, Guba”) and an enthusiastic “The Promised Land,” highlighted by backing vocals from Patti Scialfa and an invitation to “Come On!” and join in during the song’s bridge.

That sets the stage for Springsteen’s request for support of local charitable organizations leading appropriately into “My Hometown.” The first set wraps joyfully with “Thunder Road,” and the roar that greets its arrival tells you the good people of New Jersey are having the night they wanted. The chorus to “Thunder Road” seems to acknowledge that, especially when Bruce and Patti’s voices go up extra high as they sing, “Sit tight, take hold, Thunder Road.”

A straightforward but satisfying second set follows the standard 1985 stadium show template, with leaner, more muscular arrangements of songs like “Cover Me” and “Dancing in the Dark” compared to their arena editions. The same can be said for “Downbound Train,” and Bruce adds some appealing vocal tweaks, especially the way he holds the words “downbound train” at the end of the second chorus.

The second-set standout is “Pink Cadillac.” You might remember the long intro with Bruce talking about Adam and Eve, temptation, and the Garden of Eden in New Jersey. He has never spun this fable better. The band holds their own too, laying down a funky synth groove to start, eventually building “Pink Cadillac” into a sinewy, roadhouse banger, with sleazy saxophone from Clarence Clemons and Roy Bittan giving the Killer a run for his money on piano.

Before the final fun begins, there’s a sentimental moment where Bruce dedicates a short, solo acoustic version of Woody Guthrie’s “This Land Is Your Land” to his first manager and professional supporter, Tex Vinyard. He also reminds the audience—in words as timely today as ever—that “the promise of what our country was supposed to be about….[is] eroding every day for many of our fellow Americans.” Before an outstanding “Born to Run,” Springsteen utters the memorable phrase that sums up the key to that promise so perfectly: “Nobody wins unless everybody wins.”

Cementing the status of 8/22/85 as a special night, Springsteen invites Stevie Van Zandt to join the band for the remainder of the encore. Having heard the pair perform “Two Hearts” night after night on the Reunion tour, we can underestimate how meaningful Stevie’s appearance and that song would be to the assembled masses in 1985. Another River song, “Ramrod” keeps things jocular, with Van Zandt relishing his vocal contributions, including a couple of solo lines in the final verse.

No Jersey Shore bar band worth their salt would fail to pull out “Twist and Shout” for this occasion. It is rock ‘n’ roll’s ultimate singalong, and within it, Springsteen indulges in a charming bit of adulation baiting with “Do You Love Me?” Finally, “Jersey Girl” serves as the perfect summer-night coda for the Garden State.

That would be more than enough for most, but the expanded band isn’t done quite yet. Bruce goes back to the River one last time to a song he wrote expressly for a summer party, “Sherry Darling,” driving home the band-fan relationship as he sings, “I got you and you got me.”

Springsteen and the E Street Band’s Giants Stadium shows were New Jersey’s answer to the Canyon of Heroes, ticker-tape parades in concert form. In this case, the world-conquering, returning heroes were performing their mighty deeds even as the confetti flew, celebrating with their home-state audience by doing the thing they do best. As Springsteen would sing decades later in “Wrecking Ball,” this is where Giants came to play. Yes they did.

Bruce Springsteen and the E Street Band

LISTEN NOW: Community Theatre, Berkeley, CA, July 1, 1978

By Erik Flannigan

In terms of listening hours, surely no Bruce Springsteen tour has been re-lived more than the 111 shows Bruce and the E Street Band performed between May 23, 1978 and January 1, 1979. Even with entire tours (e.g. The River 2016) being released in recent years, the Darkness tour remains the consumption king for a number of reasons.

The most obvious factor is time — the decades spent playing bootlegs, tapes, and now downloads from 1978. We’ve held the Darkness tour in high esteem since it ended; even earlier, for those who attended. The rest of us who didn’t witness have been swayed by the wide availability of high quality recordings, notably the five live radio broadcasts from West Hollywood (July 7), Cleveland (August 9), Passaic (September 19), Atlanta (September 30) and San Francisco (December 15), all blessedly released in the Live Archive series. 

Add in Houston (December 8), plus second nights in Passaic (September 20) and San Fran (December 16), and one might consider the Archive series has the Darkness tour comprehensively covered. Guess again.

Berkeley 7/1/78 is the earliest Darkness tour performance to be released in the Live Archive series and tenders a distinctive, taut performance bristling with the energy of seven sympatico musicians hitting their stride. The main set offers key songs “Night” and “For You” that only featured in the tour’s early months, while the encore boasts the formal arrival of “Because the Night” to the show. Better still, the final frame opens with an unequivocal boon to the Live Archive series: Springsteen’s solo piano performance of “The Promise,” released for the first time in its definitive, show-stopping 1978 arrangement.

The outstanding sonics of Jon Altschiller’s Plangent-Processed, multi-track mix capture the kinetic electricity exchange between band and audience. This isn’t a “we already know and love him” performance, this is an “Okay, we’re ready to be convinced” set. I’m not one to focus too much on audience sound levels in the mix, but trainspotters who do will be thrilled with Berkeley. The atmosphere in the venue is vividly captured, from the quietest moments to the most rapturous, which adds something extra to the recording.

What a treat it is to hear “Night” immediately after “Badlands,” as a month later it would give way to “Spirit in the Night,” the third song of the night in Berkeley. It’s a particularly joyful “Night,” with each member of the E Street Band coming through loud and clear, from Danny Federici’s chiming glockenspiel to Garry Tallent’s lush bass. “Spirit” takes us down the turnpike to the Shore; “Darkness on the Edge of Town” sends us back out searching for meaning. 

“Darkness” taps the show’s tension coil, starting spare but igniting with the line, “Well if she wants to see me, you can tell her that I’m easily found.” I never noticed Clarence Clemons’ rich harmony vocals on “Darkness” before. Listen for him at 3:36, the start of the final, long-held “Townnnnnnn,” the crescendo of a magisterial performance. Fun Fact: Though he doesn’t mention him by name, Bruce acknowledges Mystery Train author Greil Marcus in attendance during his “Darkness” intro.

Like “Night,” “For You” was a set-list regular through July, but it only appeared nine times thereafter. The Berkeley take is lyrical and confident. That vibe continues with added urgency for “The Promised Land,” after which there is a relatively long pause and audible anticipation setting the stage for “Prove It All Night.” It was this very performance that was quickly mixed under the supervision of Springsteen and Jon Landau, and played by the pair three nights later on KMET in Los Angeles in a conversation with Dave Marsh and DJ Mary Turner. Setting aside “Circus Song,” released on the Playback promotional single back in 1973, “Prove It All Night” from Berkeley was arguably the first proper live Springsteen recording to make it into the wild. 

Over the years Springsteen and others have suggested the songs on Darkness on the Edge of Town were not as fully realized in the studio as they could have been, with the album sometimes cited as a candidate for a new mix. “Prove It All Night” feels like one of the tracks they were referring to, as the live versions are next-level compared to the studio take.

Given that, it makes sense that after airing on KMET, the live “Prove It All Night” was serviced to several radio stations and the King Biscuit Flower Hour, and it was briefly considered for release as a promo 12-inch single, though it never got past the acetate phase. Compared to versions later in the tour, the Berkeley “Prove It” isn’t as intense, the guitar intro at the start not as long, but it is superb just the same and perhaps a plausible example of what “Prove It All Night” could have been on the album.

The first set continues after Bruce acknowledges his parents and sister in attendance, putting the audience on notice to catch his sister Pam when she was “skipping school.” The final songs of the set—“Racing in the Street,” “Thunder Road,” and “Jungleland”—are exemplary expressions, and you’ll lose yourself in them as the Berkeley audience does. When “Jungleland” concludes, the applause rises and even Springsteen seems caught off guard. The conversion is complete.

The second set matches the first pound for pound, commencing in sprightly fashion with the Big Man showcase “Paradise by the ‘C’” (also aired on KMET along with “Prove It All Night”) and the second of the night’s four unreleased originals, “Fire.” With less than two dozen performances to this point, Springsteen still handles the future Clarence line, “But your heart stays cool.”

Like “Darkness” in the first set, this early “Adam Raised a Cain” is exhilarating. The proto-“Adam” touches the transformer for extra juice, especially on electric guitar, with a nasty prelude at the top and squealing, delicious filth throughout. The dynamics that make Springsteen so compelling in concert are on full display when the band peaks and Bruce howls to a stop just before declaring, “In the Bible, Mama, Cain slew Abel.”

The primitive rock ‘n’ roll guitar foray extends into the “Mona” intro to “She’s the One,” another outstanding reading with more edge than we’re used to. Next, “Growin’ Up” brings welcome sweetness, and the Berkeley audience recognizes the song from Roy Bittan’s opening piano refrain. Bruce then sets the stage, recalling his Catholic school days and the nuns telling his parents he needed “psychiatric attention,” his last words before the lyrics to “Growin’ Up” provide the explanation as to why. In the middle of the song, Springsteen addresses his father directly, explaining in endearing fashion how Douglas’ infamous declaration of “turn down that goddamn guitar” connects to this very night. It’s a special moment.

“Sad Eyes” aficionados can rejoice with another entry in the canon of “Backstreets” versions that contain the emotional interlude. Berkeley 2 matches the intensity with the famous Roxy rendition, with subtle changes including a powerful repeated refrain of “Now baby’s back. Now baby’s back.” “Rosalita” follows, lifting the mood, with the band in total command as they bring a masterful main set to a close.

The encore starts with one of the most significant, singular additions to the Live Archive series, “The Promise,” performed by Springsteen on solo piano. I considered devoting this entire essay to “The Promise,” such is its importance as a song, and in this 1978 arrangement and performance. A friend recently referred to it as “one of the two most important outtakes in the history of music,” the other being Bob Dylan’s “Blind Willie McTell.”

Bruce said “The Promise” was the first song he wrote after the Born to Run album, and it carries overt connective tissue to “Thunder Road,” borrowing those words for its chorus and serving as, if not a sequel, the other side of the coin. For me, “The Promise” is the most powerful distillation in song of the key themes Bruce would explore across Darkness and The River. Heard later by those already familiar with the two albums, it can come across as more of the same, but in 1976 or 1978 it was a revelation.

Over time, Bruce revised the lyrics to “The Promise,” and with a rewritten third verse about his father, he dedicates the song to Douglas in Berkeley and delivers a stark, emotional masterpiece. The songwriting, filled with evocative lines like, “I lived a secret I should have kept to myself, but I got drunk one night and I told it” and “When the promise is broken, you go on living, but it steals something from down in your soul,” is Springsteen at his very best.

Through the passing of time, it is also remarkable how some of the song’s deeply personal lines take on new, societal relevance. More than 40 years later, these words ring truer than ever:

When the truth is spoken

And it don’t make no difference

Something in your heart grows cold

We’re so fortunate to have “The Promise” officially released in its most significant form.

While “Quarter to Three” and “Born to Run” more than hold their own, the Berkeley encore delivers history with the proper arrival of “Because the Night.” It is only the second performance of the song with the E Street Band and the first since Boston in May. Bruce likely restored the song to the set as it was the very week of the Berkeley shows that Patti Smith’s version of “Because the Night” peaked at No. 13 on the Billboard Hot 100. The Berkeley version is a thrilling work in progress, with lyric variations in progress and an abrupt, unfamiliar ending. After Berkeley, “Because the Night” was a set-list regular. 

Though the Roxy show six days hence would take place in a small club, venue acoustics, performance, and mix combine to make Berkeley 7/1/78 the most intimate Darkness tour document in the Live Archive series. You didn’t think you needed one more 1978 show, but you most assuredly do.

Bruce Springsteen and the E Street Band

LISTEN NOW: Sports Arena, Los Angeles, CA, April 28, 1988

By Erik Flannigan

I saw more shows on the Tunnel of Love Express Tour—21, to be exact—than on any Springsteen tour prior or since. As a result, 1988 holds a special place in my heart. 

By the time I started my Tunnel run, at Rupp Arena in Lexington, Kentucky, it was clear these shows were purposefully distinct from that which came before, reflected in everything from the billing (Bruce Springsteen featuring the E Street Band) and the band members’ positions, to the addition of on-stage set elements (the ticket booth, the park bench) and, most notably, a set list that varied by only a song or two if it changed at all.

Setlist consistency has historically been considered something of a demerit for the ’88 tour. As I rolled from town to town, show after show, I’ll admit I initially yearned for changes, though that was more to counter my own unusual circumstances than any sense that “the show needs them.” It didn’t.

I now admire the Tunnel of Love Express Tour for its commitment to Bruce’s creative expression. Back in ’88, once I made my peace with the lack of changes and focused more on what he was playing, I came to appreciate the shows even more. Certain gigs (I’m looking at you, St. Louis), still stand out for their performance energy and connection to the audience.

By the time the tour rolled into Los Angeles for a run of five shows (allowing me to sleep in the same bed for more than two nights), I was fully on board. Any changes, should we get them, were icing on an already delicious cake. The fifth and final LA performance on April 28, 1988 is peak Tunnel tour and, with the addition of one extra special song, warrants inclusion in the Live Archive series.

We have revisited this stand before, as the second show on April 23 was released back in July 2015. The first thing you’ll notice about 4/28 by comparison is that the Man in Black has moved your seat forward about 10-15 rows closer to the stage, revealing more sonic detail and placing you right next to the band.

It remains a memorable show opening, as the E Streeters walk out in pairs, then Clarence Clemons, then Bruce, to take us on a ride through “Tunnel of Love” straight into the resurrection of River outtake and b-side “Be True,” carried so capably by Clarence. 1988 was a great year for “Adam Raised a Cain,” bolder than ever with the addition of the Horns of Love. Each version from ’88 released in the series has its own distinct appeal in how Springsteen sings it. The tone of this night is expressed in the slightly tweaked reading of the line, “From the dark heart, baby, from the dark heart of a dream.”

“Two Faces,” so rarely played after this tour, stands out for its pure songwriting excellence. The sweet “All That Heaven Will Allow” prelude with the Big Man on the park bench is heartwarming, a moment of looking ahead in life, not reflecting on his passing as we do now. Bruce mentions that when the weather turns warm, “Girls dig out all their summer clothes,” clearly making a mental note that would be remembered 20 years later for Magic. Equally prescient, while looking at photos of Clarence’s new baby, Springsteen jokes, “In about 15 years, there’s gonna be an E Street Band Volume Two.” He was off by just ten years and one familial branch, in predicting Jake Clemons joining the band.

There’s serious high voltage in the back half of the first set. Springsteen’s full-throated vocals fuel the tractor pistons of “Seeds,” and this “Roulette” is a candidate for best-ever status. Every musical detail is vivid, in particular Max Weinberg’s drumming and Roy Bittan’s piano. “Roulette” melds into “Cover Me,” and perhaps because of the horns, the ’88 editions of the song are my favorites. “Cover Me” gallops with conviction, pace and power, twisted just a shade darker by a few snippets of the Rolling Stones’ “Gimme Shelter.”

“Brilliant Disguise” eases off the throttle a little, though one could argue the subject matter is darker still, as desire gives way to self-doubt. Roy and Danny’s gorgeous “Spare Parts” sonata prelude is one of those moments of E Street musical brilliance that never showed up on record but is nonetheless one of their most beautiful contributions to the canon. The full band and horns bring “Spare Parts” to a roaring conclusion that stops on a dime and resets into Edwin Starr’s “War.” Bruce makes sure every line lands, shifting one for extra impact as he swaps “friend only to the undertaker” to “ain’t nothin’ but a widow-maker.”

The first set ends as it did every night on this leg with a fantastic “Born in the U.S.A.” I’ve written before about the emotive guitar solos that marked the long versions of the song performed on the ’88 tour, and this is a case in point. Jon Altschiller’s mix also reveals the multi-part layering of synthesizer and piano sounds by Federici and Bittan that give “Born in the U.S.A.” its staggering keyboard bite. Halftime.

The second set commences with “Tougher Than the Rest,” Bruce’s voice sounding slightly wearier and the swirling guitar sound (from a phaser pedal?) lusher than ever. In “She’s the One,” Springsteen’s vocal command is on point, pushing “She the onnnnnne” to the edge just before the bridge. In the land of malls that was ’80s LA, “You Can Look (But You Better Not Touch)” resonates, and from there the second set only gains momentum. “I’m a Coward” is goofy fun; “I’m on Fire” offers a radical, alternate view on love to the point of obsession; and “One Step Up” nails one of the bittersweet parts of human relationships, another masterclass in songwriting. “Part Man, Part Monkey” turns the mood playful again, reminding us it’s just evolution, baby.

At this point in the set, Springsteen had most frequently played “Walk Like a Man,” occasionally swapping in “Backstreets.” But for weeks, he and the band had soundchecked Ry Cooder’s majestic “Across the Borderline,” and it finally made the setlist for the last two LA shows. 

The song was written by Cooder, Jim Dickinson, and John Hiatt for the soundtrack to the movie The Border, in a version sung by Freddie Fender and featuring background vocals from future Springsteen backing singer Bobby King. Cooder put out his own rendition in 1987.

Despite fewer than a dozen performances ever, you can hear the influence of “Across the Borderline” in music Springsteen wrote for The Ghost of Tom Joad and beyond, as his fascination with the intersection of roots music on both sides of the border continues to this day.

The Sports Arena arrangement adds soulful scope while maintaining the Mexican elements of the original versions. The song fits so well because it feels like Springsteen could have written it himself, but that’s really a testament to the quality of the songwriting of the original. “Across the Borderline” is a welcome and worthy addition to the Live Archive series.

From there, hit the party lights, as, aside from the sublime solo acoustic “Born to Run,” the last ten songs of the set turn into an E Street block party. Of note, “Sweet Soul Music,” in rare standalone, non-medley form, brings a fitting bit of Memphis to a horn-driven show. Equally fun is the rare cover of The Sonics’ “Have Love, Will Travel.”

“Have Love, Will Travel” was written by Richard Perry (who also penned “Louie Louie”) and popularized by Seattle garage-rock standard bearers The Sonics, who released their version in 1965 on the band’s debut album, Here Are the Sonics. As the story goes, back in 1984, a record store employee from Seattle slipped Springsteen a Northwest Garage Rock mixtape that included “Have Love”; Springsteen found the song and it became an encore feature for the last few weeks of the U.S. Tunnel tour. 

As he so often does, Bruce makes “Have Love, Will Travel” his own, keeping the chorus of the original, but rewriting the verses to fit the nomadic love themes of the tour, while making the arrangement a showcase for the Horns of Love.

When we regard several shows in a particular stand, setlist changes are often cited to distinguish good from great–the more changes the better being the general rule. Yet the 4/28/88 set differs by only one song from the previously released April 23 show. Even when the addition is as significant as “Across the Borderline,” the takeaway is that setlist isn’t everything, as Tunnel tour fans already know and I learned out on the road 33 years ago.

Bruce Springsteen and The E Street Band

LISTEN NOW: Madison Square Garden, New York, NY, June 27, 2000

By Erik Flannigan

Any Springsteen show is special, and every Springsteen show is a candidate to be extra special when surprises enter the setlist or the performance peaks beyond expectation. For those of us who count the number of Bruce concerts we’ve attended by dozens and decades, there’s something immensely satisfying about attending a show you know will be extraordinary.

Such was the case when Springsteen announced the final stand of the Reunion tour: ten nights at Madison Square Garden. Fans across the country and around the world busted open their piggy banks to book flights for what was an E Street sure thing—inevitably special shows wrapping 14 triumphant months on the road.

The legendary final night, July 1, 2000, is already an integral installment in the Live Archive series. Now we’re treated to MSG show No. 8, June 27, 2000, which coincidentally features nine different songs than the finale set. The range of his song selections speaks to the excitement the Reunion tour spurred through deeper exploration of Springsteen’s catalog.

Night eight opens with “Code of Silence,” for my money one of the best true rock songs Bruce has delivered in the 2000s. It kicks off the show with the urgency and energy “Badlands” did so often on the Darkness tour. “The Ties That Bind” follows, the first of those nine changes from the finale, reinforcing the band-fan bond at the outset. “Adam Raised a Cain” has made it onto several Reunion tour Archive releases, and each performance is distinct. Here it starts measured and moody until the guttural guitar solo, after which Springsteen’s voice markedly shifts intensity as he carries the song to a soaring conclusion.

“Two Hearts” into “Trapped,” the dynamics of which remain stirring, especially in the lead-up to the Big Man’s liberating solo. While nowhere near as striking as its stark 1980 readings, the wistful countrified arrangement of “Factory” seems to shift the song to a distant memory with which the narrator has made his peace. 

“American Skin (41 Shots)” continues to flourish in these early outings, introduced plainly as just “a new song” for which Springsteen requests quiet. He sings the lyrics vividly, and as each E Street voice breaks through the effect is haunting, as if to show how the tragedy spreads and touches bystanders — and, by proxy, all of us.

The band makes an unusual musical transition from the despair of “American Skin” to the hope of “The Promised Land,” starting angular and edged before softening abruptly for a warm, comforting version of the Darkness staple.

The Reunion tour five-pack ensues, carrying us through the center of the show from “Youngstown” (this night as much of a showcase for Roy Bittan’s piano as Nils Lofgren’s guitar) through “Tenth Avenue Freeze-out.” The latter offers tasty detours into Curtis Mayfield’s “It’s Alright,” Al Green’s “Take Me to the River,” “Red Headed Woman,” and Patti Scialfa’s mini showcase of her own “Rumble Doll.”

An extraordinary trio of songs follows, cementing this show as a special night indeed. River outtake “Loose Ends” is one of the most deserving songs to be liberated by Tracks. For those of us who cherished our bootleg copies of the song all those years, it is indeed the great in-concert track we always knew it could be.

On a night of highlights, it would be difficult to deny “Back in Your Arms” is the peak. The song was recorded during the Greatest Hits sessions in early 1995 and released on Tracks three years later. Though performed only 15 times with the E Street Band to date, the song enjoys a kind of instant-classic status, so relatable in its subject matter, so appealing in its Stax/Volt arrangement and tone.

I rarely think of a Springsteen song being sung by anyone else, but “Back in Your Arms” so thoroughly invokes Otis Redding, I can imagine how he would interpret it. Beyond Springsteen’s own soulful vocals, Danny Federici’s organ solo shines, as does Clarence Clemons’ saxophone. This particular performance of “Back in Your Arms” is one I will keep coming back to.

If that rarity wasn’t enough, Springsteen fully blows minds with “Mary Queen of Arkansas.” The Greetings track had been resurrected earlier in 2000, at a stop in Little Rock, for its first live reading in 26 years. Curious that when Springsteen toured solo in 1995-97 and again in 2005, he never once performed “Mary.” This is very much a Tom Joad-style arrangement, narratively connecting with that album more than I had previously appreciated. Still a peculiar song, but a great rendition in new light.

“Backstreets” brings the band back in what is an excellent, passionately sung, contemporary version. The E Streeters continue to show their restored prowess with an extremely entertaining “Light of Day.” It starts with a guitar line for the first minute or so that feels like it is lifted from Link Wray or Dick Dale, though I can’t quite place it. (Can you?) Other references are easier to identify: a few riffs from “(I Can’t Get No) Satisfaction” slip in, while later “C.C. Rider” and “Jenny Jenny” form an embedded mini-“Detroit Medley” just before Bruce’s familiar “I’ve Been Everywhere” list of cities conquered.

A robust “Hungry Heart” starts the encore, which hits “Born to Run,” “Thunder Road,” “If I Should Fall Behind” and “Land of Hope and Dreams” as it should, plus one extra treat. Bruce changed his set lists frequently on the River and Born in the U.S.A. tours, and both had their share of setlist surprises. But there was a sense circa 1980-88 that some of Springsteen’s older material wasn’t under consideration. Reunion changed all that. Every song was again a possibility, and “Blinded By the Light” represents that spirit.

I was fortunate enough to attend this show, which started with a brand new song and encored with Bruce’s very first single, the recognition of which was not lost on me then or now. MSG 6/27/00 was extra special, just like we knew it would be.

Bruce Springsteen and the E Street Band

LISTEN NOW: Xcel Energy Center, St. Paul, Minnesota, November 12, 2012

By Erik Flannigan

Our nostalgia for great concerts of the past is not dissimilar to that of sports. For over 20 years before it went on-demand, ESPN Classic aired some of the most memorable football, basketball, and baseball games of the last few decades. NBA TV still does. You know the stuff: Buzzer beaters and walk-off home runs in game sevens. Bowl and playoff games with miracle finishes or remarkable individual performances. Retro sports programming helped define what constitutes a classic performance and naturally led to the idea of an “instant classic,” a recent game with the same kind of thrilling dynamics as those revered events of yore.

In live Springsteen concert collecting, a (relatively) clear consensus has been reached as to the all-time great shows from his first three decades on stage. Concerts like Passaic 9/19/78, E. Rutherford 8/20/84, and the Christic Institute benefits from 1990 enjoy near-unanimous agreement as to their exceptional quality. Recent archive releases like London 11/24/75 rise from the vault to join them, gaining appreciation thanks to the availability of incredible new audio.  

Assessment of performances from the reunion era to today tends to be more subjective. One obvious bias for the current audience comes from having attended contender shows in person, which isn’t the case for most people when it comes to ’70’s and ’80s concerts, save for a lucky few. So what constitutes a post-reunion instant classic?

St. Paul 11/12/12 provides a worthy example. This excellent show checks a lot of boxes. Great versions of songs from Bruce’s most recent album? Check. Strong performances of core, classic material? Rare and surprising setlist inclusions? Bruce calling audibles, telling stories and jumping into the crowd? Check, check and check.

I make it a point not to presume the thinking behind a particular decision Bruce makes, but it does feel safe to infer that his decision to audible “I’m a Rocker” to open the St. Paul show—having never opened a set with it before—likely reflected his enthusiasm in the moment. It’s a lively rendition that sends a cue that the audience is in for an especially good time.

Ensuring his point isn’t missed, “Hungry Heart” comes second, with the crowd immediately answering the call to sing their part, verse one, quite capably. Bruce matches them, singing with intention to connect all the way to the back of the hall. He points to Jake Clemons, who makes the “Hungry Heart” solo more his own than his uncle’s.

“No Surrender” extends the “we’re in this together” sentiment, and the band is playing hot already when we arrive at a four-pack that would be a thrill to witness, for those of us who appreciate great songs that lie deeper in the catalog.

“Night” isn’t the rarest song, but its power and precision always resonate, and it has played a role in many a classic show. Jon Altschiller’s mix nicely balances guitars and piano to propel the performance, and here Clemons follows The Big Man’s footprints appropriately.

The final note holds and charges into “Loose Ends,” the outstanding River outtake in only its 25th live appearance. Again, guitars and Roy Bittan’s piano do the heavy lifting, with Garry Tallent’s bass part richly realized as well. Stevie Van Zandt, perhaps THE strongest advocate for performing outtakes, matches Springsteen’s true-to-the-original vocals and helps make this one of the best live “Loose Ends” ever.

Without so much as a breath taken between songs, Bittan starts the moving piano melody that opens “Something in the Night.” The band is locked in, and Springsteen sings with gravelly passion in a gorgeous overall reading. With feelings already heightened by “Something in the Night,” Bruce selects what for my money is the saddest and most emotional song he has ever written, “Stolen Car.” 

In just its second appearance with the band since 1985 (the first being the 2009 River album set at Madison Square Garden), “Stolen Car” is about the recognition of love unraveling. The song’s musical arrangement illustrates the range of the E Street Band to marvelous effect, connecting with as much prowess in the spare grace of their playing on “Stolen Car” as they do in the crescendo of “Born to Run.” “Something in the Night” and “Stolen Car” also carry poignant accents from the horn section, adding new tones and colors to these genuinely profound performances.

Following that memorable quartet we move through the core of the 2012 set with tour-honed versions of “We Take Care of Our Own,” “Wrecking Ball,” “Death to My Hometown,” “My City of Ruins” and “Pay Me Money Down.”

In addition to making his standard band introductions, Bruce addresses the crowd in “My City of Ruins,” telling them he and the band love “repeat customers” (St. Paul was the only market on the fall arena tour with two shows) and, rather amusingly, that special recognition of their status in the Twin Cities can be fleeting. “We are the band that yesterday had two streets named after us right here in the city,” he brags. “Today, nothing! No streets! Back to Butthole Avenue or whatever it was before yesterday.”

Also slipped into the set after “My City of Ruins” is an exuberant version of “The E Street Shuffle,” complete with horn-section tune-up prelude, an Everett Bradley percussion solo that walks the song to the edge of Santana, and a full outro. Perhaps less faithful than the version on the Christmas release from 11/7/09 but no less fun.

With the second St. Paul concert falling on the Veterans Day holiday, Springsteen worked up the first-ever, full-band version of “Devils & Dust.” The solemn and striking arrangement leverages the full capabilities of the expanded line-up: Curt Ramm’s trumpet and Soozie’s violin set the initial tone; Max Weinberg’s drums along with Nils Lofgren’s and Van Zandt’s guitars carry the majestic middle; and the E Street Choir add their graceful voices as the song eventually grows to its fully realized conclusion.

“Youngstown” feels appropriately positioned just after, reminding us of the plight of veterans who return to hometowns as the jobs that long sustained and provided identity to their working class are disappearing. “Murder Incorporated,” 2012 edition, is a horn-led affair in addition to a triple-guitar showpiece.

Sure, the junior vocalist on “Waitin’ on a Sunny Day” may be in slightly over their head, but 2012 also means we have the E Street Choir to ensure the rest of the singing is sweet (they performed the same service in “Hungry Heart,” which also featured audience members on mic). Choir voices also further enliven “She’s the One” and provide backbone to “Shackled and Drawn.”

“The Rising” and “Badlands” both stick their landings, and the main set concludes with “Land of Hope and Dreams” calling on the horns and extra voices for additional heart and soul power. For the encore, Jake steps into the biggest of the Big Man’s shoes and delivers his own soul power to “Jungleland,” soloing impressively above Bittan’s fluid piano runs. “Born to Run” sustains its crescendo an extra long time, with horn blasts keeping the tension building. “Dancing in the Dark,” “Tenth Avenue Freeze-out” and “American Land” send everyone home happy and inspired, as well they should.

Perhaps “instant classic” is a term best left in the sports realm, but contemporary subjectivity acknowledged, what more could one want from a Wrecking Ball tour performance than what Bruce delivers on the second night of St. Paul?

Bruce Springsteen and the E Street Band

LISTEN NOW: Madison Square Garden, New York, NY, November 7, 2009

By Erik Flannigan

For Bruce Springsteen, 2009 began with the Super Bowl and wrapped with a series of memorable full-album performances.

First, a brief history. 

Complete, in-sequence album performances date back to the ‘70s, when Pink Floyd played Dark Side of the Moon in order on the band’s 1973-75 tours. In 1989, R.E.M. played all of their first album, Murmur, and their then-new album Green at a special benefit concert. In 1994, Phish began their tradition of “wearing a musical costume” for Halloween shows, covering The Beatles’ White Album end to end and doing the same for albums by Talking Heads, Velvet Underground, and Little Feat in subsequent years.

The full-album trend really took off in the 2000s. One of the catalysts was The Beach Boys’ Brian Wilson, who began performing the band’s seminal Pet Sounds in 2000 and released a live recording of his recreation in 2002. From there, the practice became common for bands of all stripes through the rest of the decade and beyond.

Two months after the Super Bowl XLIII Halftime performance, Springsteen kicked off the 2009 Working on a Dream tour. After a European jaunt that wrapped mid-summer, Bruce and the band returned to the States for another round of shows, where it was announced that at select dates they would join the club and play one of three classic albums: Born to Run, Darkness on the Edge of Town or Born in the U.S.A.

Those full album sets were warmly received, but leave it to Springsteen to raise the stakes. With nearly two years of touring coming to an end and an extended break sure to follow, he wanted to do something special for the fans AND the band. And so it came to be that two shows in New York and a third in Buffalo would showcase the other three albums from the band’s first 12 years. Buffalo got Greetings From Asbury Park, NJ, and the second night in New York hosted The River, both since released in the Live Archive series. We now hit the trifecta with Madison Square Garden 1 and the first complete reading of The Wild, The Innocent & The E Street Shuffle as performed on November 7, 2009.

While you can’t beat the thrill of a surprise inclusion in the setlist, there’s a different and equally thrilling anticipation to a show where you know what you’re going to hear but still can’t believe you will. Such was the case with this concert. There is a palpable buzz in the building, amped up as Bruce emerges, turns the time machine dial to 1973, and sets the stage for the evening with “Thundercrack,” the delightful second-album outtake.

“Seeds” is unexpected but works as the follow-up, with Springsteen fully engaged in the narrative. The pace is brisk as we jump to “Prove It All Night,” and the era-hopping extends to “Hungry Heart” — included, I suspect, to ensure the crowd understands their participatory role in the evening. “We need you to bring the noise,” he implores during “Working on a Dream.” And how heartwarming is it to hear Clarence Clemons’ encouraging verbal responses in the background as Springsteen speaks?

With the crowd warmed up, it is time for the main event. “Something that’s never been done before!” Bruce announces before explaining that Wild & Innocent is divided between songs about his New Jersey home and his fantasies about the big city across the river.

The conductor taps, we hear horns warming up, and a perfect “E Street Shuffle” ensues, true to the original album arrangement with Springsteen’s voice hearkening the spirit of the Shore circa the Nixon administration. We’re going in order, so “Sandy” comes next, its poignancy striking an immediate contrast to “Shuffle.” It’s a lovely reading with the right amount of distance, Bruce singing it fully in the moment but with memories in the lyrics still vivid. 

“Kitty’s Back” rips like it should, with fantastic accents from the horn section and every player taking their solo spotlight like a boss. Perhaps the rarest song from the album in recent times, “Wild Billy’s Circus Story” is spun as a folk tale, and like “Sandy,” its details are sharply drawn. 

Every “Incident on 57th Street” is a cause for celebration and tonight’s is no exception. Close listening reveals especially fluid bass runs from Garry Talent, while the guitar solo riffs on the original but the tone is distinct, accenting a weariness perhaps, and as result feels fresh and moving.

The magical transition out of “Incident” leads us to a joyfully traditional “Rosalita,” played like the album without band introductions. While we associate “Rosie” with set closing, tonight it introduces the final scene and a tour de force performance of “New York City Serenade.”

“New York City Serenade” is arguably the most musically ambitious song to perform in the Springsteen catalog. Much of that weight is carried by the emotive piano playing of Roy Bittan, who leads the way through this rendition, followed by Springsteen’s own guitar work. The song builds at just… the… right… pace, and we hear the congas come in, courtesy of special guest Richard Blackwell — the very percussionist who played on the original sessions — along with Tallent’s lush bass. Then at 3:40, when the Sam Bardfeld-led violin section bows their first note, we’re enraptured. “New York City Serenade” is fully reborn in what has to be one of the finest musical moments of the post-Reunion era.

How do you follow-up 12 minutes of sublime, musical majesty? With “Waitin’ on a Sunny Day,” of course, which acts as a sort of plunge pool as the show shifts tone for a largely upbeat final 90 minutes marked by several notable highlights. 

We dip into Bruce’s first album for another Big Apple special, “Does This Bus Stop at 82nd Street?,” followed by an undeniable request (“It must be done!”), “Glory Days.” It hadn’t crossed my mind that playing one’s old albums is on some level a “Glory Days” move, but taken at face value, it’s just a great version of the song, tagged with several New York Yankees namechecks.

“Human Touch” is another standout, now fully owned by the E Street Band and highlighted by strong vocals from Patti Scialfa. Stevie Van Zandt hits some lovely note sequences around the 5:00 mark that underscore the build to Bruce’s crescendo “Hey Now!” vocal. The extended ending further marks this version as excellent.

The end of the set and the primary encore stay true to the 2009 tour for the most part, moving through “Lonesome Day,” “The Rising,” “Born to Run,” a welcome “Wrecking Ball” with Curt Ramm on trumpet, “Bobby Jean,” “American Land” (again featuring Ramm plus Bardfeld on violin) and “Dancing in the Dark.”

But a show this special deserves a fabulous finale, and we get one with a cover of Jackie Wilson’s “(Your Love Keeps Lifting Me) Higher and Higher.” The aforementioned guests join in, including Richard Blackwell, while Bruce shares lead vocals with Elvis Costello. The song famously wrapped another set of shows before an extended break (Boston Music Hall 1977) and was resurrected for the last run of 2009. What a message to share with your audience on a night when Bruce and the E Street Band reached back to their past and soared.

Bruce Springsteen and the E Street Band

Hammersmith Odeon, London, England, November 24, 1975

By Erik Flannigan

Performing under pressure can bring out the best in us, but it can also skew perception. The long-standing narrative surrounding Bruce Springsteen and the E Street Band’s four-stop European tour in 1975 was that response to opening night in London on November 18 was mixed, in part because the hype leading up to the show was at Second Coming levels — too much for anyone to live up to, even Springsteen.

The official release of that show in the Born to Run box set on video and subsequent standalone audio blows the myth out of the water, as the performance is excellent and every bit as good as the gigs Springsteen played in the States in the weeks prior.

But the London ’75 narrative was a two-parter, the other half being that the response to the first London show motivated an extraordinary second performance by Springsteen and the band at Hammersmith Odeon six days later, on November 24. Whether or not there is a causal relationship between the reception to the first gig and the resulting second show, the myth is right about one thing: London 11/24/75 is brilliant.

After performing 16 songs at Hammersmith 1, Bruce and the band unleash 22 killer cuts at Hammersmith 2, making eight overall changes to the set, a whopping seven of which are cover versions. The mindset seems to be, bust out the full arsenal and hit ’em with everything we got. Boy do they ever, giving a musical history lesson in the process and performing some of the best live versions of material from Springsteen’s first three albums, shifting effortlessly between full tilt and slow, nuanced majesty.

The latter aptly describes the show opener, “Thunder Road,” with just Roy on piano, Danny on glockenspiel, and Springsteen on vocals. It remains a bold and vulnerable choice to start a show, and the performance is sublime. (Five points to the first person to identify who introduces Springsteen to the stage.) The shift to breakneck pace is on full display as the E Street engine turns over and Bruce pushes the gas pedal to the floor on “Tenth Avenue Freeze-out.”

Jon Altschiller’s mix, taken from Plangent Processed, 24-track analog master reels, moves beyond HD to something closer to 4K, not merely widescreen but razor-sharp, with tremendous spatial depth and ideal balance between band and fans. It’s a step above “you are there.”

Many pixels have been spent on the topic of Archive releases of shows that “we already have in great quality,” with some questioning the need. True, a mostly complete two-track soundboard recording of Hammersmith 2 has been in circulation for many years. But if there were ever a demonstration of the merit of putting out the best shows out in the best quality, London 11/24/75 is it. Comparing the old bootleg to the new multitrack edition is like comparing Charli D’Amelio to Misty Copeland. Sure, they both dance….

The London audience roars its approval as Bruce shifts the setting to New Jersey for “Spirit in the Night,” with the band warmed up and soaring, Stevie Van Zandt and Max Weinberg notably in fighting form. Bruce is getting into it, too, and his vocal intonation gets more expressive by the middle of the second verse as he sings, “By the time we made it up to Greasy Lake.”

“Lost in the Flood” made its tour debut at Hammersmith 1, and this night is one of the song’s finest live outings. The swirling sound of Danny Federeci’s Leslie speaker sets the haunting mood, and Roy comes in ever so delicately on piano. As the song grows and expands, striking guitar work slices through the tension before the flood crests at 5:23 with Springsteen’s high-pitched scream, the crescendo before Roy’s final melodic refrain. 

Hammersmith 2 moves briskly from song to song and doesn’t feature lengthy chatter. “She’s the One” and “Born to Run” are examples of letting the music do the talking. The former is played at a humming clip, the latter goes full Wall of Sound, especially Springsteen’s rapid fire guitar in the bridge. “Growin’ Up” and “Saint in the City” serve to catch up the crowd on the early chapters of the Springsteen story.

“Pretty Flamingo” takes the place of “E Street Shuffle” from Hammersmith 1 but retains its soulful spirit. The languorous version allows us to hear the room and the audience as they clap along, embracing the vibe. “Backstreets” is straightforward and strong, then we shift back to fifth gear as “Sha La La” attempts a land speed record, kicking up delicious guitar licks in its dust.

Perhaps as a result, “Jungleland” struggles to find its bearings but ultimately delivers drama and impact. “Rosalita” closes the set with a sense of release that sets up what’s to follow — but only after a bit of fun. When Bruce shouts, “Gimme ten!” in the breakdown, listen for a guitar note that seems to bend into a question mark. The band hangs there for longer than we expect. The audience goes nearly silent, unsure what happens next. Finally, chiming guitar chords and the onslaught continues, pounding the crowd with E Street power, Stevie and Max again leading the charge.

We move to a jaw-dropping encore that opens with an evocative version of “Sandy,” resplendent with Danny’s accordion and the Big Man’s baritone sax. Bruce paints a picture with his words, singing every line with vivid conviction. This is as good as “Sandy” gets.

From there, it’s time for an E Street Jukebox session that is the stuff that built the legend. The tour debut of “Wear My Ring Around Your Neck” gets us started, with Bruce turning up the juice on the Elvis Presley tune (written by Bert Carroll and Moody Russell). This is the first release of the storming song in the Archive series and one of only 14 known performances.

Next, we’re on to the “Detroit Medley” and a special disco dance lesson, as Bruce teaches Londoners the “New Jersey Hustle.” That wraps the first encore. The band leaves the stage and Bruce returns for a solo piano performance of “For You.”

Holy shit.

Over the course of nearly nine rhapsodic minutes, Springsteen reinterprets “For You” to wonderous effect. Everything changes, from vocal intonation to phrasing to tempo. “You could laugh, you could cry, in a single sound” — I’ve never heard Bruce utter the line quite like this before, and similar reimagining happens throughout the performance. The clarity of the recording is remarkable.

It isn’t just his singing, either, as he thrillingly speeds up the piano behind lines like, “Your strength was devastating in the face of all these odds,” and later when he concedes, “So you left to find a better reason than the one you were living for.” This first appearance of the solo piano “For You” in the Live Archive series is an essential addition.

“When You Walk in the Room” brings pure elation, the Searchers cover soaring and showing the UK group’s influence on the E Street sound, which can be heard all the way up through the River sessions.

The encore continues with “Quarter to Three,” and whatever audience uncertainty was there in “Rosalita” is gone. Springsteen has Hammersmith eating out of the palm of his hand. The show could have easily ended with the Gary U.S. Bonds classic, as many Springsteen shows have before and since, but no. Turns out there’s gonna be an after-party, and Bruce and the band are gonna pull out ALL the stops. 

Bruce says he learned to play “Twist and Shout” “out of a Beatle book,” and he uses it to work up the crowd even further as he stops mid-song on “doctors orders,” only to be revived by his bandmates. 

Two minutes of sustained applause compels a third encore, and pushing the C1 button brings up Chuck Berry’s “Carol” in its final 1975 appearance. Stevie Van Zandt seizes the occasion for more guitar heroics. That sonic depth noted above can be especially felt when Bruce calls for Clarence’s “big notes” on baritone sax. 

Do yourself a favor this holiday season and put a proper stereo on your wishlist. Computer speakers, AirPods, and — God forbid — the speaker on your phone are no way to listen to Bruce Springsteen live.

The epic Hammersmith performance seems to be over, but Springsteen can’t quite walk away, calling out the key of A and breaking into a spontaneous version of another Berry classic, “Little Queenie.” Collectors know the song’s famous premiere at the Milwaukee “bomb scare” show in October 1975; this one shares that same ragged-but-right spirit, along with an unmistakable sense that on this climatic night in London, the end of Bruce’s first-ever visit to Europe, he simply didn’t want it to end.