Twenty years and nine days after it happened, I could not think of a better way to wrap up our monthslong delve into the White Stripes live performances from the year 2000 than with this previously-forgotten recording from Spaceland in Los Angeles on December 8th.
The Stripes first played Spaceland a mere six months prior on June 22nd, having placed an early “hold” on the date at the club enabled them to negotiate a spot opening for Weezer (underplaying using the pseudonym Goat Punishment) in a gig I’m still kicking myself for not even attempting to record or film.
This, their second-ever trip to the West Coast, would be a quick jaunt right as excitement on the band was hitting a fever pitch. Reviews of this show at the time highlight a line around the block to get in Spaceland on this night.
And the show is strong…an inviting mix-up of songs the band had mastered and was flying in and out of sets by that point. Largely devoid of between-song banter (save for Jack apologizing that his guitar broke the previous evening and that he cannot seem to make it be “friends”) and not garnering an encore, I can only posit that the band felt this show was just okay.
Stripes tour manager John Baker recalls that following the performance, the soundman wanted to charge him $200 for a CD of the show. After a bit of wrangling, John was able to obtain it gratis and this gig, recorded directly to CD, is now remastered directly from that original compact disc master.
RIP to Spaceland, later known as the Satellite, which closed down this year and never opened back up. Completely unrelated to the White Stripes, but I have fond memories of running into Lux Interior and Poison Ivy outside there and, man, just saying that feels like it’s something I’ll be telling my grandkids like my mom tells me about seeing Pete Maravich play basketball or Elvis at Olympia or the Rationals at the Michigan State Fair
There’s still some other 2000 material stuff kicking around, some of it only just recently unearthed like this Spaceland gig, but for the time being, we’ll consider the door closed on this year and will excitedly move on to other explorations. For a review of this show at the time of performance, check out the write-up here…
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.
The White Stripes’ first-ever performance in Madison was a windy Thursday night in a college town where it appeared most of the students had already left for spring break. The gig at O’Cayz was the band’s first after the completion of their sophomore album, the “De Stijl” cover photos taken a mere two days earlier. While still three months before its release, March 16th is, essentially, the first show of the “De Stijl” tour cycle. The band does four songs off the album (some with the intro of “from our new album that’s coming out”), all of which they’d been playing live for months already.
While included in a still-unshared amateur video of the 3/3/00 Magic Stick gig, the version of “Death Letter” included here is the earliest available recorded live performance of what would become one of the band’s mainstay songs, performed at almost every show for the rest of their career. A little more simple than the behemoth it would later evolve into, I’m quite fond of the inauspicious take on Son House’s classic here. Like just about everything with the White Stripes…simple beginnings.
From my perch, the show was solid if not wildly divergent or raucous. The band went on second of three bands…before the headlining Mistreaters yet after Rob McCuen and the Ruins. I always felt the snare on this board mix was just too low for my liking but was eternally grateful that Kevin Meyer (of the Mistreaters) had the foresight to record the show. Bright moments like the seldom-performed “Grinnin’ In Your Face” or “Astro” interluding with a nod to “Peter Gunn” but without the “I Walk Like Jayne Mansfield” lyrics or Jack saying he invited the mayor of Madison to the show that evening…all stick out to me as welcome, unique turns in the evening.
Most of all, I’m still scratching my head at Jack introducing “I Just Don’t Know What to Do With Myself” as having been written by Buster Keaton…a spurious claim I still have no insight as to where in the hell it came from but had blindly repeated for years before realizing that Burt Bachrach and Hal David were the true authors.
Personally, I had a bitch of a ureteral stent removed earlier in the day and found out I’d gotten a full scholarship to college prior to shoving off for Madison….so all around, it was a pretty memorable day.
Loss is one of life’s most challenging experiences. There is no universal path to solace, no prescriptive behaviors to mitigate its pain. But as we process the death of a loved one, at some point in the days and weeks that follow, the one undeniable truth of the situation is eventually revealed: Life goes on.
Just 11 days removed from the passing of Danny Federici, Greensboro opens with a video tribute to the band’s fallen comrade set to the music of “Blood Brothers.” But from there the mood shifts markedly. At the first four shows performed after Federici’s funeral, setlists dipped back to Springsteen’s first two albums for songs like “Blinded By the Light,” “Does This Bus Stop at 82nd Street?” and “Growin’ Up” in tribute to Phantom Dan. There would be time for that this night too, but to open Greensboro, something more cathartic was delivered.
The pairing of “Roulette” into “Don’t Look Back” rivals the best one-two punch from any Springsteen show in any decade. Two stunning, underplayed rockers—one haunting, one life-affirming—blow off the doors of the Greensboro Coliseum, and the release of energy is unmistakably liberating for all.
As the diehard collectors well know, “Roulette” has a very tricky arrangement, especially as a one-off, and here it is played with full conviction in what has to be one of its best modern performances. How convicted? Listen to Bruce declare, “They say they wanna help me but with the stuff they keep on sayin’, I think those guys just wanna keep on playin’.” The guitar solo is searing as well, and Max crushes one of his signature drum parts.
The same can be said for “Don’t Look Back,” which faithfully follows the 1977 arrangement in its only live outing circa 2000-2012 and one of only 31 performances ever. Short-listed for, but ultimately left off of Darkness on the Edge of Town, “Don’t Look Back” remains one of Springsteen’s greatest non-album tracks. In fact, “Don’t Look Back” was so “ready” for Darkness, it is the only song that wasn’t newly remixed for Tracks in 1998. The performance in Greensboro is a faultless rebirth.
One could argue the top of the show isn’t merely a perfect pairing, but a trio, quartet, or even quintet of brilliantly linked performances. The momentum of “Roulette” and “Don’t Look Back” pushes kindred spirit “Radio Nowhere” to new heights. “Out in the Street” (a phrase also uttered in “Don’t Look Back”) bears renewed vivacity and “The Promised Land” brings us home, riding Roy Bittan’s piano and Stevie’s guitar.
Bruce finally catches his breath as we move into Magic territory with a solemn (and timely as ever) reading of the title track with Soozie subbing admirably for Patti. “Gypsy Biker” was a Magic tour highlight every night and continues to deserve consideration as one of the finest E Street Band songs of the 2000s. A heartfelt story follows, as Bruce describes meeting Danny for the first time, preceding a momentarily tentative but ultimately winning “Saint in the City.”
Setlists on the Magic tour were notably tight, and that bang-bang approach is in evidence as Bruce steers “Saint” left into a very fine “Trapped” and follows that with graceful right turn into the Nils Lofgren (and Soozie, too, in Ms. Scialfa’s absence) showcase, “Because the Night.”
The night’s crackling atmosphere sparks a terrific “Darkness on the Edge of Town.” Jon Altschiller’s mix positions piano and guitar ideally. The performance is anchored by an impassioned Springsteen vocal that drops in defeat when he sings the slight variant, “I lost my faith when I lost you,” only to rise to that arresting heightened register to deliver the rest of the verse starting with, “Tonight I’ll be on that hill, ‘cause I can’t stop.” “Darkness” and the “She’s the One” that follows are equal parts vintage and in-the-moment.
By the halftime arrival of “Living in the Future,” the score Bruce has put on the board is at MJ/Lebron levels. And to continue the analogy, those games still make for great, memorable wins, even if the superstars don’t hit quite as many downtown three-pointers or monster dunks in the second half.
The return of a newly streamlined “Mary’s Place” registers as another highlight. “Let’s see if we remember this one…debut on this tour. Come on, let’s try it,” says Bruce with undeniable glee. There is something fresh about “Mary’s Place” mk2, with more echoes of the kind of updated “Thundercrack” or “Santa Ana” vibe that he seemed to be going for in the first place, compared to what the song morphed into on the Rising tour.
Sure, there is something peculiar about spending your sign request on “Waiting on a Sunny Day.” The motivation may have had more to do with being picked for the singalong (which, as it turns out, didn’t even happen for this tidy performance), but we’ll excuse it as well-meaning if slightly misguided. From there, Greensboro moves through a solid back ten that may lack a bit of the first half’s urgency but holds its own, especially the Magic songs: “Last to Die, “Long Walk Home,” and “Devil’s Arcade.” The last of these and “Magic” make their first appearances in the Live Archive series from 2008 performances.
Springsteen and the band ultimately bring Greensboro home in fine form through a long and lively “Badlands,” a musically rich and beautifully sung “Backstreets,” the fitting farewell of “Bobby Jean” (kudos to Clarance for nailing the solo), and the high-spirited finale, “American Land” with Charlie Giordano eloquently deputizing for Danny on accordion.
The recent release of Letter to You on record and film reinforces that life does go on for the E Street Band, and equally that the spirit of those who have departed continue to inspire those who carry on. Greensboro is a wonderful reflection on the process of loss and the power of perseverance.
August 18th, 2000 had The White Stripes performing at Detroit’s venerable Magic Stick. Supported by near-and-dear friends (who’d later become bandmates and collaborators), the Greenhornes and Whirlwind Heat, the recording provides a window into the Stripes’ mindset that Summer — just after their West Coast De Stijl headlining tour in June and still yet to experience the insanity of their opening slots for Sleater-Kinney in September. The only known live performance of Captain Beefheart’s “Ashtray Heart” (which they’d just recently laid to tape for eventual release in the Sub Pop Singles Club), a rare live outing for the deep cut “I’m Bound to Pack It Up,” and an electrifying set-ending “Let’s Shake Hands” leave the listener with the palpable sense that something amazing is about to happen for this band.
Until someone provides a recording of the 7/22/00 Beachland Ballroom show (or possibly the 7/15/00 Blind Pig show) this is the earliest White Stripes live recording with Jack White using his soon-to-be indispensable Big Muff pedal. The performance of “Dead Leaves and the Dirty Ground” featured here is the earliest extant example of the distorted, feedback-soaked style that would become the standard for this song. The implementation of the green Big Muff Pi pedal here on songs like “Apple Blossom”, “Cannon”, “When I Hear My Name” and others presents dynamic variations on these classics that previously was non-existent, marking a watershed moment in band history that has not been previously heralded.
Whirlwind Heat played INSANELY early this evening. As in, they were already onstage by the time the Stripes arrived at the venue. The room was pretty empty at that point. So much so that Jack felt bad and arranged for the band to go on again…AFTER he and Meg had finished. You can hear him say after the completion of “Do”…speaking on-mic to Heat frontman David Swanson, “Hey Swanson, you wanna come up? Whirlwind Heat will entertain you again.” The band assembled on-stage quickly and played a brief but spirited second set. Classy all around.
The poster for this performance was personally designed by Jack White (as all early Stripes art was) and may or may not have appropriated imagery from a long-forgotten G.I. Joe graphic.
While previously released in 2017 as part of Third Man Records’ Vault subscription series, the version featured here is newly transferred, speed-corrected, and mastered in high resolution. Upgrade!
I’ve written before about the role the Darkness tour radio broadcasts played in the career development of Bruce Springsteen. Broadcast live from the Agora in Cleveland, the Capitol Theatre in Passaic, The Roxy in West Hollywood, and Winterland in San Francisco, those concerts were recorded off air by thousands of people listening at home in 1978. In the years that followed, many wore out their tapes, playing them again and again as the only “official” live Springsteen product until Live/1975-85 was released in 1986.
Through the “magic of bootlegging,” home recordings wound up on illicit vinyl pressings like Piece de Resistance and Live in the Promised Land. Copies of those LPs made their way to Europe, which wasn’t visited by the Darkness tour itself, so overseas fans at least got to hear Springsteen on stage. He and the band wouldn’t return to those shores until 1981; for such Bruce-starved fans, those recordings were manna from heaven.
Without question, the familiarity fans have with the broadcast recordings of shows like The Roxy and Capitol Theatre cemented their status among Bruce’s greatest performances ever. But what if there were another?
It would be an exaggeration to call Atlanta 9/30/78 “the lost broadcast.” But compared to the other four, which were pressed multiple times on vinyl and CD bootlegs, Atlanta is the least familiar, having no meaningful history on bootleg vinyl and a limited one on CD.
The home recording enthusiasts alluded to above were certainly more plentiful in the Tri-State area, for the Passaic broadcast, than in the Southeast for Atlanta. Other broadcasts got wider distribution (the Agora show was syndicated to FM rock stations around the country after the fact) or were simply bigger events to begin with (Bruce’s Roxy appearance was the most buzzed-about show in Los Angeles in 1978). On the other hand, Atlanta and the Southeast were more of a development opportunity for Springsteen that year, and legend has it, stormy weather in the region on 9/30/78 caused reception problems for those who did record.
All of which explains why, as fans traded tapes and bought bootlegs in the ’70s and ’80s, the quality of the Atlanta broadcast, if it could be found at all, was inferior to the other four broadcast recordings, hence its outlier status. But one listen to Jon Altschiller’s new mix from Plangent Processed, 24-track analog master tapes and Atlanta is an outlier no more.
The 9/30/78 set captures the Darkness tour “picked at the peak of freshness,” as the old commercial used to say. It’s like getting a lost episode of Seinfeld, shot but never aired during Season 5. The official release of this Fox Theatre show gives us the chance to fall in love all over again with a spectacular slice of Springsteen ’78.
After a great intro to the stage, the show smashes to a start with “Good Rockin’ Tonight” straight into “Badlands.” Each E Street Band member quickly shows they are in it to win it this night, with first-among-equals Roy Bittan carrying the melodic load with aplomb, as he will throughout the night. “Spirit in the Night” sets the band-fan tenor. “Darkness on the Edge of Town” is flawless, and Bruce sings with total conviction — no more so than on a subtle lyric change, replacing “Where nobody asks any questions or looks too long in your face” with, “You can drive all night, and never make it around.”
Sonically, Atlanta offers crystalline clarity. In the stately “Independence Day,” which Bruce introduces as the “flipside to ‘Adam Raised a Cain’,” the level of instrumental detail — from Danny’s glockenspiel to Max’s hi-hat, Garry’s bass to Stevie’s delicate strumming — is breathtaking and immersive. It pulls you into what just might be your new favorite version of “Independence Day,” a sentiment you are likely to feel across several Atlanta performances. Yes, the audience is mixed just right, too.
The rest of the first set holds to the same gold standard as we move from a faultless “The Promised Land” to a scintillating, extended “Prove It All Night” that’s as good if not better than any version you’ve heard from this tour — and that’s saying something.
The same goes for “Racing in the Street.” Listen for a gorgeous and distinct bit of interplay between Danny and Roy around the 2:05 mark. The first set wraps with the peerless pairing of “Thunder Road” and “Jungleland.” It doesn’t get any better than this.
“Santa Claus is Comin’ to Town” opens the second half of the show in jolly spirits, and because the fake snow that fell needed to be swept up by stagehands, Bruce and the band vamp by paying tribute to one of Atlanta’s adopted sons, James Brown. They play the Godfather of Soul’s “Night Train” so well, one would think the song was in the set every night of the tour. In fact, this is the only performance ever of “Night Train.”
“Fire” extends the frivolity before the tone turns dramatic via “Candy’s Room.” Danny and Roy again weave around each other in stunning fashion in the long intro to “Because the Night,” which includes a superlative guitar solo in yet another “name a better one” version. The second River preview of the night, “Point Blank,” surely sent anticipation soaring for Springsteen’s next album, with Danny and Roy intricately swirling behind the striking original lyrics.
E Street Band vocals in the “Not Fade Away/Gloria” intro to “She’s the One” have never sounded livelier, the guitar licks never more Link Wray than this terrific extended reading, another reminder of how special it is to re-live such a beautifully recorded document of the tour. “Backstreets” provides a tour de force denouement, with the middle section a Van Morrison-inspired, mind-blowing melange of “sad eyes,” “Drive All Night,” “you lied,” and “we’ve got to stop.” Listening to the Atlanta version will reaffirm everything you love about the song, this tour, and these musicians.
Even venerable “Rosalita” gets an intriguing instrumental introduction more than two minutes long. There are so many moments in Atlanta 9/30/78 that are just a little different from the Darkness shows we know best, and it is all the more compelling because of it.
The traditional but no less exceptional Darkness tour encore of “Born to Run,” “Tenth Avenue Freeze-out” and “Detroit Medley” brings us home, and the night ends with one of only eight tour performances of “Raise Your Hand,” far fewer than you’d guess because all five broadcasts are counted among those eight renditions.
With the release of Atlanta, the quintet of 1978 broadcasts in the Live Archive series is now complete, representing not only some of the greatest Bruce Springsteen performances of all time, but arguably the greatest live concert recordings in rock history.
When the Born in the U.S.A. tour kicked off in late June 1984, Bruce Springsteen and the E Street Band had been off the road for more than two and a half years — or eternity, by Springsteen standards. Contrast that with their previous longest hiatus from the road, 21 months that passed between the end of the Darkness tour (January 1, 1979) and the start of the River tour (October 3, 1980). Prior to that, Bruce and the band had played a significant number of shows every year since 1972.
Not only did 1981-84 represent the longest gap between proper concerts, but the Born in the U.S.A. tour also marked the first personnel changes within the band in ten years, as Stevie Van Zandt stepped out, Nils Lofgren stepped in, and Miss Patti Scialfa expanded the E Street Band from six to seven full-time members.
The song catalog was growing, too. As a double album, The River contributed many new tracks to 1980-81 setlists, but in 1984, Bruce was again supporting two albums’ worth of new material, with one of them a true departure: the solo acoustic Nebraska.
All of which is to say that the early weeks of the 1984 tour marked a period of material change and recalibration to the established Springsteen live show. We can hear that process thrillingly in progress with the release of 8/6/84.
This concert was the second night of an unprecedented ten-show stand at the Brendan Byrne Arena in E. Rutherford, NJ. The sold-out run was strategically placed seven weeks into the tour, which gave the new line-up and material time to gel. With but two exceptions (Montreal and Saratoga Springs), all dates prior to the Jersey stand featured two or three nights in a given market.
Multi-track recordings from 1984 are limited to this Brendan Byrne run, and the Live Archive series has already released two of its finest shows, opening night (8/5/84) and closing night (8/20/84), each worthy in its own right.
What makes 8/6/84 distinct from its predecessors is that it represents what fans in 1984 referred to as the “B” or alternate set. Famous for ever-shifting setlists, when Bruce would play a second or third show in a given city in ’84, he typically changed out songs in the Nebraska mini-set and encores, as well as selected others throughout.
The setlist on 8/6/84 offers eight such changes to the opening night 8/5 setlist (nine if you count, and we should, “Do You Love Me?”). Collectively, they expand our overall perspective of the tour as represented through the Archive releases.
First up is the tour premiere of “Spirit in the Night,” a staple in 1978 that was omitted for all but three airings circa 1980-81 and resurrected here as a surefire crowd-pleaser for the New Jersey homecoming. It’s the third pre-Born to Run song to be featured in a 1984 setlist up to this point, joining “Growin’ Up” and “Rosalita.” The version is a fine one, with the Big Man’s saxophone on point.
After a bang-up “Atlantic City,” “Open All Night” makes its Archive Series debut from this tour. It offers one of most entertaining moments in these early ’84 shows thanks to Bruce’s introduction to the song, a tale of late-night driving on the NJ turnpike and racing the gas gauge needle (hovering around E) before getting pulled over by a highway patrolman. The officer seems to sympathetically recognize Springsteen, only to then drop the hammer on him with the memorable line, “Son, you’re in a lot of trouble.”
When I think of “Open All Night,” this is the arrangement permanently saved in my memory banks, and it is wonderful to have it for the first time in Archive quality. I can say the same for “Nebraska,” and while this is the version released on Live/1975-85, context is everything. This candidate for a definitive reading of the song sounds even better complete with Bruce’s prescient introduction (absent on the 1986 box set) about new technology making people feel isolated from their jobs, families, community, and government. The E Street Band provides perfect, subtle support, with Danny Federici’s glockenspiel and Roy Bittan’s Yamaha CS80 synthesizer adding disquieting, ethereal layers to the track.
“Trapped” is also the previously released version we know from the We Are the World album and Essential. Following “Nebraska” and still riding Bittan’s CS80, it comes off like the cathartic final scene of the mini-set, release coming via Clarence’s sax solo and the soaring voices that carry the chorus.
The end of the first set and start of the second stay true to the core ‘84 setlist, with “Because the Night” the next change from night one, with Bittan brilliant on piano and Patti stirring on the chorus. After a “Pink Cadillac” ride comes a flawless “Fire,” with Clemons’s rich baritone voice in full duet with Bruce’s lead vocals.
The main set comes to a close with “Racing in the Street,” a song that would evolve considerably as the tour wears on, truly coming into its own with a stunning synthesizer-backed story intro in October, November, and December ‘84 performnaces. Those elements aren’t here yet, but as Bittan carries the song through its epic conclusion, we get beautiful, fresh guitar interplay between Nils and Bruce that suggests the song is undergoing a rebirth.
As we move to the encores, Springsteen’s mood is summed up by the “whoop, whoop, whoop” vocal he drops around the 1:50 mark of “Rosalita,” perhaps a simple utterance of joy that night two of this most important 10-show stand was nearly in the books. But not before a few other highlights.
“I’m a Rocker” is a fantastic addition to any encore, and the ‘84 edition gets its due here. And yes, that’s Roy Bittan’s voice you hear loud and clear in the right channel of the chorus. Danny’s faux Farfisa sounds great, too.
But they saved the best for last. Arguably this show’s greatest contribution to the Live Archive series comes in the form of a song only performed on this tour.
Springsteen covered the Rolling Stones’ classic “Street Fighting Man” 28 times, all but one in the summer and fall of 1984 (the last was London 7/6/85). This marks the first official release of the song by Bruce and the E Street Band.
Paired brilliantly in a doubleshot with a potent “Born to Run,” “Street Fighting Man” declares, “What can a poor boy do, except to sing for a rock and roll band,” a sentiment Springsteen was likely feeling as the biggest rock star in America during an election year. “Street Fighting Man” is a call to arms, telling us the “time is right for a palace revolution” against those in power. Its inclusion in the set is a not-so-subtle suggestion of where Springsteen stood just a few months ahead of the 1984 Presidential election.
A year later, Bruce famously introduced his cover of Edwin Starr’s “War” by stating,“blind faith…in your leaders…will get you killed.” “Street Fighting Man,” first played on opening night of the tour, and “War,” debuted at the final L.A. shows in ’85, can now be viewed as thematic bookends questioning U.S. leadership, something Springsteen continues to do in 2020.
The more I listen to this performance of “Street Fighting Man,” the more electrifying it sounds. Bruce carries the way with his impassioned vocals, but the band’s contributions are integral, as Garry channels his inner Bill Wyman, Nils finnesses an intricate guitar lead, and Patti pulls the chorus up to the next level.
One song later, Bruce asks the audience, “Do You Love Me?” After hearing “Street Fighting Man” again 36 years later, in an even more important election year, the answer is: now more than ever.
How should we view the Seeger Sessions tour in the context of Bruce Springsteen’s storied performance history? Incredibly, 14 years have already passed since the arrival of the album We Shall Overcome: The Seeger Sessions and the tour that followed. That’s roughly the same amount of time as between Bruce’s early 1970 Steel Mill audition for Bill Graham in San Francisco and the release of Born in the U.S.A. (Join me in an unspoken but no less mortified “Yikes!”)
Springsteen’s foray into traditional music is named in homage to legendary folk-music activist Pete Seeger, with whom he had a fond relationship. Bruce was on tour in South Africa when Seeger passed in 2014 at the age of 94. “I lost a great friend and hero last night,” Bruce told the crowd. “We’re humbled to be here tonight in the land of Mandela, a great freedom fighter. We are here tonight in his grace, because he made it possible for us to be here. Pete, back home, was a very courageous freedom fighter also.”
We Shall Overcome surveys the kind of American folk standards popularized by Seeger. The project’s musical approach is often full-on hootenanny, with Bruce backed by a large, loose ensemble of musicians playing with instinct, spontaneity, and just the right amount of reverence. The Sessions Band tour followed a similar blueprint, expanding song selections to include additional folk and roots classics, as well as Springsteen originals re-arranged in kindred styles.
Whether you love folk music or merely appreciate its importance and influence, Bruce’s live performances of that music with this band were undeniably infectious and entertaining. Part of that was down to the man himself seeming as happy as he had ever been on stage, energized by painting with a completely different palette, performing with new companions and a few friendly faces.
The Seeger Sessions album and tour happened in the midst of a fruitful period for Bruce, who released and toured behind Devils & Dust the year before, and would issue and tour in support of Magic a year later and beyond, followed quickly by the same game plan for Working on a Dream. It was an impressive flurry of activity, and because Seeger Sessions was a one-off, perhaps it hasn’t received a deserved reappreciation.
We know it remains near and dear to Bruce. Earlier this year he blessed the YouTube release of the entire New Orleans Jazz & Heritage Festival performance from April 2006, the first show of the Seeger Sessions tour and one Springsteen cites in this autobiography as among his most meaningful shows ever.
Jazz Fest was also released in the Archive series, providing a fine document of the tour’s early stages. The official Live in Dublin culls highlights from three shows at the end of the tour. To those bookends we add London 11/11/06, which offers the first complete performance from the end of the Seeger run and includes a number of setlist variations to New Orleans and Dublin.
We commence with a show-opening throwback to Bruce’s first single, “Blinded By the Light.” When Greetings From Asbury Park, N.J. was released in early 1973, more than a few critics characterized it as folk rock, making its inclusion here all the more fitting. That being said, while I’m no musicologist, the style in which it is performed here suggests File Under Klezmer.
The first half of the London show offers a satisfying mix of high-spirited songs from the album (“Old Man Tucker,” “Jesse James,” “Mrs. McGrath”), some of its weightier material (“Eyes on the Prize,” “Erie Canal,” “O Mary Don’t You Weep”) and Seegerized, story-rich Springsteen originals.
To wit: “Atlantic City” is transformed into a murder ballad rave-up; “Growin’ Up” is appealingly re-arranged with country flourishes and a bit of Dylan influence, too; and “Open All Night” gets something of a juke-joint makeover. The new arrangements cast all three in fresh light that expands our appreciation for each song. “Devils & Dust (which does not appear on the New Orleans or Dublin releases) hues closer to the original arrangement, but it draws upon the chorus of voices in the Sessions band, led by Curtis King and Soozie Tyrell, yielding a beautiful and poignant result.
Late in the show, Springsteen thanks the crowd for “taking a chance on [our] experiment here,” his characterization of the entire Seeger Sessions project. On this night he took that spirit one step further by debuting a brand new song.
The night before his first London show, Springsteen went to see Lucinda Williams play at Shepherd’s Bush Empire, joining her on stage for two songs. Inspired by her performance of unreleased material, the next night Bruce pulls out one of his own work-in-progress originals, introduced as “Gonna Be a Long Walk Home.”
“She was brave because she played all these new songs,” Springsteen tells the Wembley audience. “Between my whoring and drinking, when I come home after that, I sit up in the hotel room occasionally and I try to write.”
The premiere of “Long Walk Home,” a one-off on the 2006 tour, features a number of lyric variations and extra lines compared to the version eventually released on Magic a year later. The final verse of this unique performance includes a sober couplet on the state of America that feels even more relevant today: “Now the water’s rising ’round the corner, there’s a fire burning out of control / There’s a hurricane on Main Street and I’ve got murder in my soul.”
That kind of risk-taking and the enthusiasm for reinterpreting one’s own work are hallmarks of the Seeger Sessions tour, as is the pure, unbridled joy of the performances. London 11/11/06 captures those qualities marvelously.
By Ben Blackwell, The White Stripes’ official archivist
I must admit I have some difficulty writing about White Stripes shows that I wasn’t in the room for. My insight, my drive, my perspective is so driven by the experience. But this performance at the Sit & Spin (or is it Sit ‘n’ Spin…I’ve seen it both ways and it drives me crazy) from December 2000 is just one of those gigs that, even though I wasn’t there for, having listened to the tape for almost twenty years it’s locked into my psyche as a barn-burner.
First off, some details…the White Stripes played two shows at the Sit & Spin on this day. There was an earlier, all-ages show to accommodate minors who’d otherwise be left out due to Seattle’s draconian liquor and live performance laws, and a later one that same night, 21 and up performance.
Funny thing is…we don’t know which of those two shows this recording is from! If I was forced to guess, I’d imagine the later one, but I don’t have anything concrete to back that up. Just a hunch I guess.
Jack and Meg start the show with an impromptu jam. Totally made up on the spot and never to be heard from again. And honestly, for me, I think it’s bonkers good. Just the thick, muscly Jack White Airline guitar tone that was front and center in that era, power chords riffing, Meg kicking ass keeping time, lyrics a garbled mess all except for the barely discernible “Back to School” which we’ve felt was an appropriate a title as could exist for this one.
Everything else performed here feels just as sublime, rare outings for both “Slicker Drips” and “Sister, Do You Know My Name?” delight while a downright volatile run on “Hello Operator” invigorates. Jack even calls out a journalist from local weekly the Stranger in his introduction to “Truth Doesn’t Make A Noise” using the writer’s own words to introduce the tune as a “sketch of a great song.” Asking the crowd for requests and actually following through on someone’s shouting of “Astro” is unabashedly quaint here. And tying it all together with a solo rendition of “You’ve Got Her In Your Pocket” to end the set is a fitting audio denouement for what stands as one of the best live recordings of the band from this year.
For those of us fortunate enough to have seen many Bruce Springsteen concerts and multiple tours, particular shows stand out for any number of reasons, from the people with whom we attended to favorite songs that made the setlist that night. But the most indelible memories often come down to a special, unexpected moment.
Prior to this show, Bruce hadn’t played “Incident on 57th Street” since December 29, 1980, a gap of nearly 19 years, and a performance that itself proved to be a one-off on the original River tour. Hell, the song only got played five times on the Darkness tour. Three decades later, the Reunion tour became a catalyst for the revival of many dormant classics, none more beloved or longed for than “Incident.”
I can only imagine the tears of joy and quivering chins that sprang forth when Springsteen commenced his sixth and final show in Philadelphia with this magisterial reading of “Incident on 57th Street.” I would have been a puddle, overwhelmed by the caliber of the performance. While he would go on to play the song three additional times on the Reunion tour and revisit it on special occasions ever since, if Philadelphia ‘99 had been the song’s only modern airing, it would be held in the same regard as the officially released one from Nassau ‘80.
Despite a long show the night before at the Spectrum (unfortunately not recorded on multi-track due to the venue change for the rescheduled date), 9/25//‘99 finds Bruce in particularly strong voice. On “Incident,” he finds a connection to those vintage versions, singing with real passion, taking his time and sending the song soaring. The E Street Band is also up to the task, needing but that day’s soundcheck to nail the epic. The performance of “Incident” is not a recreation (listen to the fresh edge on the guitar tone) but a thrilling revival of one of Bruce’s early classics.
Springsteen’s vocal prowess continues and the versions of “The Ties That Bind” and “Prove It All Night” that follow ring particularly true across the board: singing, playing, intention. There are already great Reunion shows in the Archive Series, but Philadelphia ‘99 will sound fresher than you expect, as new details jump forth. For example, Jon Altschiller’s sonorous stereo mix treats us to a fantastic Stevie and Bruce vocal exchange on “Prove It.”
The show’s first half runs from strength to strength, with peak Reunion takes of “Two Hearts,” “Atlantic City” and “Factory.” “Point Blank” arrives with a captivating organ and saxophone intro in what is its first Reunion tour performance released in the Archive Series. “Point Blank” is not a song you think of as a Clarence Clemons showcase, but his textures start the song on an appropriately unsettling note, and later, Steve’s guitar solo is similarly edged.
“Youngstown,” “Murder Incorporated,” “Badlands,” and “Tenth Avenue Freeze-out” (which also bears some tasty fret work from Van Zandt) are strong as they were night after night in 1999, with “Tenth” dropping in on “Red Headed Woman” and a very sweet verse and chorus from The Temptations’ “My Girl.”
The party atmosphere extends with “a little last taste of summer for you,” “Sherry Darling,” another showcase for the musical and vocal chops of the E Street Band who are in collective top form.
The tone shifts movingly with the first full-band performance of “Streets of Philadelphia” in its namesake city. The modern Springsteen masterpiece is beautifully rendered, Van Zandt’s background vocals adding richness.
The evening enters the rarified status of hosting not one but two circa 1973 epics, with “New York City Serenade” (itself only recently revived after a 24-year slumber), delivered in stunning fashion in what might be its strongest ‘99 performance. Each E Streeter wraps themselves in musical glory: Stop it Stevie. Stop it Big Man. Stop it Roy. You’re killing us with your melodic beauty.
The set winds down in largely expected fashion, but Philadelphia ‘99 does add two additional songs to the Reunion tour Archive roster. Clarence Clemons’ great night extends to his most famous saxophone solo in “Jungleland,” which is spot on. I can’t imagine the band has played “Jungleland” better than this in the modern era. The other new addition is the show-closer, “Raise Your Hand,” played as the pure soul classic it is and celebrating the band-fan bond that Philadelphia has offered since the very beginning.
If you’re looking at Philadelphia ‘99 and thinking it is “only” 22 songs long, remember six of those tracks top the ten-minute mark on this night of epic performances. I’ve heard longer Reunion tour shows, but I’ve never heard stronger.
Today we’ve added legendary performances from one of the greatest rock bands of all time to our catalog. The Who are now available in the nugs.net app and on our web player. Fans can enjoy three timeless shows that drop them into the crowd in 1970, 1980, and 2015. Here’s everything you need to know about these classic shows.
Filmed on June 26, 2015 as The Who celebrated their 50th anniversary, this stunning show with 65,000 fans in attendance at London’s famous Hyde Park is a triumphant return to their home city. This massive event formed a fitting culmination to The Who’s 50th anniversary celebrations and the set includes classics like “My Generation,” “Pinball Wizard,” “Baba O’Riley,” “Pictures Of Lily,” “I Can’t Explain,” “You Better You Bet,” “Who Are You,” “Won’t Get Fooled Again,” “Join Together,” “The Kids Are Alright,” “I Can See For Miles,” and many more! This grand scale concert, complete with huge screens surrounding the stage and an exceptional light show, holds true to Pete Townshend’s promise at the start of the set: “You’re a long way away…but we will reach you!”.
The Who (Roger Daltrey, Pete Townshend, John Entwistle, and Kenney Jones) delivered both classic tracks and rarely performed songs: “Pinball Wizard,” “Won’t Get Fooled Again,” “My Generation,” “Substitute,” “Who Are You,” “I Can’t Explain,” “See Me Feel Me,” “Baba O’Riley,” and many more. The tour promoted the 1982 album It’s Hard and the set list was comprised of several tracks from that album, some of which the band would only play live on this tour. The Who’s 1982 North American tour was their last to feature Kenney Jones on drums and the band did not tour again until 1989. This concert film features the show from the second of their two nights at New York’s Shea Stadium and was filmed on October 13th 1982.
This new edition of Murray Lerner’s film of The Who’s legendary performance at the 1970 Isle Of Wight Festival features newly restored pictures and remixed sound to finally give this amazing concert the quality release it deserves. Accept no substitute and play it loud! The tracklist includes:
1) Heaven And Hell 2) I Can’t Explain 3) Young Man Blues 4) I Don’t Even Know Myself 5) Water 6) Medley: Shakin’ All Over / Spoonful / Twist And Shout 7) Summertime Blues 8) My Generation 9) Magic Bus
From “Tommy”: 10) Overture 11) It’s A Boy 12) Eyesight To The Blind (The Hawker) 13) Christmas 14) The Acid Queen 15) Pinball Wizard 16) Do You Think It’s Alright 17) Fiddle About 18) Go To The Mirror 19) Miracle Cure 20) I’m Free 21) We’re Not Gonna Take It 22) See Me Feel Me / Listening To You 23) Tommy Can You Hear Me?
Many nations can lay claim to being Bruce Springsteen’s second home or adopted country. Italy has a strong case, given the ancestral roots of Bruce’s mother Adele (maiden name Zerilli) and a history of special shows that took place there, particularly in Milano. England is in the conversation too, with an incredible run of concerts dating back to 1975, and the passion of Spanish fans is well documented on Live in Barcelona. Australia may be a latecomer, but there’s no denying the love affair between Bruce and the land down under that played out in two major tours in 2014 and 2017.
Yet it would be hard to deny Sweden the symbolic honor of first among equals. Sverige’s history with Springsteen also dates back to 1975, when it was one of three markets Springsteen played on a brief European sojourn on the Born to Run tour. But the special relationship really starts with a pair of shows inside the very building in which this Devils & Dust performance takes place. Then called Johanneshovs Isstadion, the venue was the site of two legendary nights on the 1981 European leg of the River tour, memorialized on the famous vinyl bootlegs Follow That Dream and Teardrops on the City.
Four years later, Gothenburg cemented its place in the narrative with two dates at Springsteen’s home away from home in Sweden, Ullevi Stadium. Legend has it the passionate response of fans in Ullevi actually caused structural damage to the building in ‘85, and Springsteen has played the stadium nine times since that human rumble took its toll. Throw in the 1988 radio broadcast from Stockholms Stadion, the Tom Joad tour at Cirkus, and many other celebrated gigs, and the case is quite compelling. The country’s passion for Springsteen never wanes. Case in point: He sold out three stadium shows in Gothenburg alone in 2016, where it would appear he is as popular now as he was in 1985.
You can hear the special bond with Bruce’s Swedish fans on Stockholm 2005. Jon Altschiller’s mix showcases the audience-artist dynamic and the interplay between the two that makes live performance so special and so missed in these times of social isolation.
One element that made the Devils & Dust tour so bewitching was ever-changing setlists. At nearly every stop, Bruce dusted off a few songs that had been sitting on the shelf awhile and added them to a common core. In Stockholm, he opens with the tour debut of “Downbound Train,” hearkening back to those Ullevi ’85 shows. Boldly, the second song of the night is one of the highlights of that common core, “Reason to Believe.” Springsteen completely reimagined the song on this tour, transforming “Reason to Believe” into a Delta blues stomper with his inventive use of the bullet microphone.
Bullet mics are designed for harmonicas, with intentionally limited frequency range (usually cutting anything above 5,000 khz) and distortion. For his new take on “Reason to Believe,” Bruce played harmonica and sang his vocals through the bullet mic, distorting his voice and crunching down the sound to an eerily narrow slice.
The result sounds like an otherworldly transmission from the Crossroads or a lost Bluebird 78 RPM record spinning in the past. Rearranging his own songs is something Springsteen has excelled at going all the way back to “E Street Shuffle,” but this radical and riveting “Reason to Believe” is one of his most memorable and a standout every night of the Devils & Dust tour.
https://youtu.be/o2GxcTjeu58
“Empty Sky” from The Rising had a second act on the tour as well, making close to two dozen appearances. The mournful tale rides Springsteen’s percussive acoustic guitar and focused vocals. Two guitar songs follow, the heartfelt parental reflection “Long Time Comin’,” which gains poignancy when Springsteen sings off-microphone, and the least-played track from Devils & Dust, “Black Cowboys,” which made 16 setlists in 2005.
Bruce moves to the keys for a rare outing of “The Promise,” in its first ever performance in Sweden. What a moment that must have been for diehard fans, five years before it became the title of the Darkness on the Edge of Town box set. We go down to “The River” on piano as well, with a striking prelude that starts with a single note, builds, swells and then settles solemnly before Bruce sings the evocative first lines.
Though it had been a standard feature on the Tunnel of Love Express tour, Bruce’s entertaining evolution tale, “Part Man, Part Monkey,” had its own second life on the Devils & Dust tour, a narrative befitting the candor Bruce was expressing about human behavior in story and song during the shows, sometimes in deeply contrasting ways. Several Link Wray guitar turns only add to the appeal.
“All I’m Thinking About” is an underrated charmer. Sung in a faltering falsetto, it’s a series of sweet, real-life snapshots (little boys carrying fishing poles, little girls picking huckleberries) set to a simple chorus of devotion (or obsession?). Two songs later in “Reno,” fishing poles and blueberries give way to a price list of front and back door sexual access. Damn.
Snuck in between (no pun intended) is “Across the Border,” played for the first time since the Joad tour, augmented with a rich, accordion-like harmonica. You’d never know Springsteen hadn’t played it in so long, his reading is faultless.
Over to the irresistible eclectic piano we go for “Point Blank,” sounding more haunting and knowing than ever, then a true gift, “Walk Like a Man,” making its second archive appearance this year. Springsteen starts it on electric piano (not unlike the arrangement of “Tunnel of Love” from the previously released Grand Rapids 2005 show) and it unfolds warmly. It’s interesting to note that when he last played the song in 1988, he had no children of his own. Singing it here, Bruce is son and father. The song’s gravitas rises for the final verse as Bruce switches to full piano and the arrangement grows richer and more confident. What a gift to have two incredible live versions in our hands now.
That theme of fatherhood is enhanced with the piano pairing of “Walk Like a Man” with “My Hometown” in a powerful, straight-ahead reading where every line rings true. With that, the first half of the show concludes and we move back to guitar for “The Rising” and an intense take of “Lucky Town,” with Bruce strumming his acoustic with physicality and conviction like “Darkness on the Edge of Town” at the 1990 Christic Institute performances.
The back nine of the show rides his conviction to excellent performances of a trio of story songs, “This Hard Land,” “The Hitter,” and “Matamoros Banks.” One might go so far as to call “The Hitter” the closest thing to an unpublished screenplay Springsteen has penned since “Highway Patrolman” and until Western Stars, where it could have slotted in nicely. As character studies go, it is one of his finest.
As he does so masterfully, Springsteen rounds the bend and lightens the mood with a storming, Seeger-ized “Ramrod,” Dylan-ized “Bobby Jean” and a true-blue “Blinded By the Light,” making its Scandinavian premiere 32 years after its release.
The show wraps with the soul-stirring Devils & Dust tour pairing of “The Promised Land” and a cover of Suicide’s “Dream Baby Dream,” both offered in meditative, at times mantra-like arrangements. In “Dream Baby Dream,” the words “keep on dreaming” and “I just want to see you smile” sink into our subconscious, floating on dark-cloud organ notes that brighten as they turn towards heaven. Given the genuine dark clouds that so many of us are weathering, the spiritual power of the “Dream Baby Dream” mantra may provide genuine solace.
May’s Third Man Thursday is here just in time for the holiday weekend with a very special release. Oberlin 2000 was a cornerstone moment for The White Stripes and now the transformative show is available to stream in the nugs.net app. Ben Blackwell, The White Stripes’ official archivist returns this month with a recap of the show below.
We left Cincinnati later than we should have. A visit to Shake-It Records looms large in my memory and we definitely rolled straight to the club, Dionysus. On the campus of Oberlin College and apparently run by the students there, what could be an easy target to shit on is actually pretty damn cool. I mean, hell, the college I was enrolled in that semester wasn’t booking Sleater-Kinney.
The show itself still sticks out as one of the most transformative the White Stripes EVER played. Like if there was ever so clearly a “before” and “after” moment in the history of the White Stripes live shows, I’d push the pin firmly into the date September 16th, 2000.
I don’t recall the crowds the previous two nights (Chicago and Newport, KY) necessarily “getting” the Stripes. Sure, the performances were solid, folks may have even picked up on it a little, but they were big rooms, law of averages probably explains it. But at Dionysus, man, it’s a small room, maybe 400 capacity, and with a low stage, the space felt like a basement…hot and sweaty, probably not being utilized for its intended use and primarily populated with kids who’ve got NOTHING better to do. Receptors open, transmissions receiving…just give ’em something worthwhile and the response will be wild.
Watching from the merch table at the back of the room, you could feel the band take off. The show starts off interestingly enough (can’t ever recall “Your Southern Can Is Mine” appearing so early in a set) and from around “Dead Leaves and the Dirty Ground” onward, its as if afterburners are on full throttle, every move just of-the-moment and powerful and important and happening right in front of your face.
After futzing around for months, the fuzz feedback mainline of “Dead Leaves” is finally firmly established in the way all would come to know and love it. “Death Letter” is the raucous rail-splitter while the placid verses of “Stop Breaking Down” achieve the song a tempered duality as leveraged by the absolute savage slide of the choruses, while the uncharacteristic off mic screaming in “One More Cup of Coffee” has you realize that mind-bending covers of Son House, Robert Johnson and Bob Dylan poured out one after the other in rapid succession, a most holy trinity of White Stripes heroes if there ever was one.
From “Astro” forward…there’s so evidently a transcendent musical connection between the two entities on stage, of the same brain, taking action without thought, a Darwinian evolution that should crawl across millennia transpiring in matter of mere minutes. On a Saturday night. In Ohio.
Listening back now, nearly 20 years later, it STILL gives me goosebumps. The way “Jack the Ripper” (a song they’d goofed on a handful of times previously) melts into “Farmer John” (a song they’d NEVER previously goofed on) and straight into, hands-down, the best version of “St. James Infirmary” the band would ever perform and arguably epicenter of the aforementioned “before” and “after” designations.
To lay ears to the recording now is to hear “St. James” evolving in real time as an arrangement heretofore unknown, just exploratory explosive accents primally bashing away as entree to the song, unrecognizable from its released version, pummeling inauspiciously into the first verse, Jack’s voice rich, full, expressive, like a vase holding ten thousand orchids hand-painted by O’Keeffe. Then completely out of left-field, Jack offers the second verse double time, damn near jazzy or show tune(ful), humbly paying respect to the roots of this Cab Calloway composition. In my recollection of the evening, I feel like I was holding my breath at this moment. As if to ask, timidly, scared, fearful of failure or catastrophic collapse “can they do it?” And wildly, with abandon, Meg is RIGHT there with him, never missing a beat for the next TWO verses. Weeks, days, shit a half HOUR early this would have been impossible. The chops were not there, the telekinetic o-mind wavelength was, previously, nonexistent. And without ever telegraphing the move, out of nowhere, Jack calls verse four back to the explosive accents, half-time, reigning it in with a delightful smirk, at this point completely showing off how shit hot he and Meg are. Just making it up as they go at this point, verse five crosses back to double time, the intensity somehow amplified, improbably kicked up a few notches and culminating into one solitary, strong expositional statement, like a goddamned full-body statue of Teddy Roosevelt, arm outstretched, pointing, confidently, ready to decimate whatever gets in the way. And that, you little maniacs, is when the White Stripes first hit that apex, as if levitating, where they could do no wrong. Exquisite beauty. The reason we are all here today.
A few songs later and unexpectedly, Jack just starts making shit up off the top of his head. We’ve labeled it “Keep On Walking (improv)” here and that, again, you lucky freaks, is the first time the White Stripes ever just made something up in front of a crowd. Said approach would be responsible for some of my personal favorite moments from the band (including “Little Cream Soda” even though I wasn’t even there to witness it in person) and straight into “Screwdriver.” Jack teases, if only for a moment, the drawn out and confrontational manner of both the MC5’s “I Just Don’t Know” and the Gories “48 Hours” and yet somehow builds upon it. Goes further. Creates distance. Catches nirvana.
Leaving the stage after said culmination, you can hear the crowd just losing it. Apeshit. The opening act, who almost certainly no one there even knew of prior to this evening. EVERYONE was urging them to return for an encore, including the members of Sleater-Kinney, who were all but pushing Jack and Meg back onstage. Really, truly, this never happens, it should never happen, yet witnesses to history and this tape prove, “Let’s Build a Home” just smokes before the tape runs out in a brief moment of Basinski-esque disintegration.
I’m a bastard when it comes to hyperbole…I HATE when people blow shit out of proportion. I don’t have time for it. But I honestly do not think the White Stripes ever played a more perfect show. Yeah Manaus ’05 was bonkers, Tasmania ’06 is electrifying, Mississippi ’07 brings tears, Detroit Institute of Arts, Peel sessions…there’s no shortage of GREAT shows with this band. But ones where everything clicks. Where the band is almost a visage in hyper-speed while their surroundings are but props calcified in amber, where it feels like the incalculable number of nerve endings of every last synapse of every living being in the world were all connected onstage that night…well, damn, Oberlin it is. Because while those other shows may carry more emotion, may explore further depths of the catalog, or engaged multiples of more fans…September 16th, 2000 was the catalyst that enabled all of them to ever happen.
This being our fourth year on wonderful Jam Cruise, and with two sets every year, we were eager to mix things up this time around. We decided we wanted to cover something really special, but not too obvious. Funkentelechy vs. the Placebo Syndrome has been a long time favorite album for Taylor, and then in turn for the rest of us over the years.
We decided ahead of time that this would be a great opportunity to get other musicians involved and do a “Turkuaz and Friends” type thing, which we almost never do. So basically we just called up a bunch of friends to do it (Karl Denson, Robert Walter and basically the entire amazing band, Ghost Note). What we didn’t realize was that the specifics and complicated nature of each song was by far the hardest cover material we’d ever learned. So many random horn lines, harmonies, things that happen 12 times, and then 5 the next, and then 17 the next. Damn near impossible to get everything right. But we practiced a bunch with our own band, and really learned the tunes to a high level of detail. Then as it got closer we thought – “man, without a rehearsal with our guests – this is gonna get interesting!” Spoiler – everyone did an amazing job, guests and band alike. So kudos to them on that! As far as winging some things and just letting it happen how it happened – It just wouldn’t be proper tribute to Parliament if it weren’t a little bit sloppy, chaotic and crazy up there. As Robert said after the show, “that was perfect, especially in it’s imperfection.” And it was a really special moment for all of us.
Oh, and we also decided not to tell anyone what we were doing and let it be a surprise. It simply said “Turkuaz and Friends – Mystery Album”. We were keeping it under wraps, but needed to try and squeeze in a quick run through.
So we sealed the doors of the theater, for the very brief (10 minute) rehearsal we had the day of the show. Thinking no one could hear what we were doing, we started playing the first song “Bop Gun” with Karl. All of a sudden, we look up and Ivan Neville is running down from the theater entrance towards the stage and ran up to the piano and started playing. He said something like “sorry to crash the party, but I mean… Bop Gun? I just had to get involved”.
Sure enough, Ivan returned for the set and became a last minute special guest. Nikki Glaspie showed up side stage during the set, and started swapping back and forth with Sput on second drum kit. Not to mention – the rest of Ghost Note were all dressed in animal costumes and had smiles on their face that seemed to imply some sort of out of body experience was happening (you can fill in the blanks yourself for what may have been going on there). Everyone played great and after the show, Sly from Ghost Note said that during the set he had experienced “the best moment of his whole life”. I’d say that’s pretty satisfying to hear from an incredible musician like him. It proved to be something that the whole boat seemed quite high off of for the following couple of days. It remains one of our favorite undertakings and sets to this day. And now we’re premiering the audio for the first time here on nugs.net Hope you enjoy (warning – it gets weird!).
I was 15 years old in the summer of 1981. My friend Marc had just turned 16 and obtained his driver’s license. The previous October, my father took Marc and me to the Seattle Center Coliseum to see Bruce Springsteen and the E Street Band, and that changed everything.
My parents subscribed to Rolling Stone magazine, which ran a Random Notes item that Springsteen would be doing a return leg of the River tour over the summer. With only that single data point to go on in the pre-Internet days, Marc and I would get up early and drive to the local mall every Sunday in June and July to see if, by chance, a line had formed and Springsteen tickets were going on sale. The Seattle ’80 show had gone up with no prior warning on a Sunday morning. We figured, better safe than sorry.
A Seattle ’81 show never materialized, but the story illustrates the heightened levels of anticipation for Springsteen’s summer return. If Marc and I were going to all that trouble in hopes of getting tickets to a Seattle concert that was never even contemplated, imagine what it must have been like in New Jersey when it was announced that Bruce and the E Street Band would christen the newly constructed Brendan Byrne Arena in East Rutherford with a six-show stand to kick off their post-Europe victory lap.
Though only 32 dates in total, the Summer ’81 tour is one of the most celebrated in Springsteen’s long performance history. The epic-length sets of the previous winter had tightened up, giving the shows a sharper focus. The summer run also came after Springsteen’s first extended tour of Europe, an inflection point in his musical development that, with the introduction of three vital new songs to the set, brought with it the first indications of where his music might be going.
East Rutherford 7/9/81 is the final night of the Brendan Byrne run and a moment of culmination for Springsteen and the E Street Band. Their confidence and a new sense of purpose developed on the stages and streets of Europe drives this outstanding performance, and the audience is there to meet them. Even when Bruce assays new songs, the crowd sounds fully on board. Listen to the sympathetic clapping they add to “Follow That Dream”; the live archive version from London a month earlier has no audience participation at all.
The 7/9/81 show wastes no time getting to the meat of the matter, opening with “Thunder Road” into “Prove It All Night” and “The Ties That Bind.” Playing his sixth show in nine nights, Bruce’s voice needs a little warming up at the start, but his passion is already dialed in at 10. By “Darkness on the Edge of Town,” Bruce and the band lock into gold medal form, and the song spotlights Stevie Van Zandt’s critical vocal contributions in this era.
“Follow That Dream” is the first of the new songs, all three of which blur the line between cover song reinterpretations and originals. The Elvis Presley reinvention retains its stark, meditative arrangement debuted in Europe and closes on one of the most disquieting, chilling notes in the Springsteen catalog.
“Follow That Dream” has an especially curious place in the canon in that it feels like an extremely significant song in Bruce’s evolution as a songwriter, despite having never had an official studio release (it was recorded for Born in the U.S.A. in 1983). It’s only been performed 15 times since the Bridge School Benefit in 1986, but it shows up in every decade, as recently as Australia 2017, the last E Street Tour to date. Is there a more meaningful unreleased song?
Carrying on, “Independence Day” revisits Springsteen’s father-son narrative, but this time with a new chapter recognizing the need to say the things that need to be said, now, while there’s still time. The sentiment couldn’t be more timely in the Covid-19 era.
“Who’ll Stop the Rain” has never sounded bigger or bolder than this terrific rendition, and Jon Altschiller’s mix offers incredible instrument separation. The acoustic and electric guitar interplay is marvelous — and listen for the electric to kick in again, quite thrillingly, five seconds into “Two Hearts.” What a great version. The same can be said for “The Promised Land,” as heightened vocal phrasing brings the song to another level.
There’s an intriguing break in the mood as Bruce begins the harmonica intro to “This Land Is Your Land” only to be interrupted by the explosion of a firecracker (heard clearly in the right channel). Condemnation is immediate. “Whoever just threw that firecracker, you can do me a big fucking favor and don’t do it,” he says with total convinction. “Whoever you are, you are no friend of mine. This is a song about that respect; it’s about having respect for yourself, for the land that you live in.” Pure conviction powers Springsteen through the daunting take of “The River” that comes next as he attempts to reset following the firecracker, leading to one of the highlights of the night — if not the whole of the 1981 tour.
Word of this incredible new song “Trapped” had even reached me on the other side of the country (again, likely through Rolling Stone). I had to hear it. Through the magic of mail order, I bought a bootleg LP called Prisoner of Rock and Roll that included “Trapped,” and I was gobsmacked. The simple start, the build, the intensity, the crescendo, then again and AGAIN, with the final release coming as Springsteen shouts “I’M TRAPPED” and the last note sustains. Mesmerizing and unlike any Springsteen song that had come before it.
“Trapped” is a cover (originally recorded by Jimmy Cliff), not an original. Cliff’s lyrics are basically intact, and fundamental melodic elements are there, too. But how Springsteen listened to this and developed the arrangement he performs in New Jersey is the alchemy of a musical genius. Hearing the song in this context—following the firecracker incident, “This Land Is Your Land” and a tentative “The River”—“Trapped” offers unmistakable catharsis.
Set one wraps with a high energy “Out in the Street” and full-tilt “Badlands,” rich with Van Zandt vocal accents, Roy Bittan piano, and plenty of Max Weinberg propulsion.
East Rutherford 7/9/81 is marked by its new songs, but it was also a summer Shore party as the second set makes clear. The festivities begin with “You Can Look (But You Better Not Touch),” replete with some interesting lyrical additions where our protagonist is “going downtown, gonna buy a gun.” Love the guitar mix on this one.
From there, bang bang into “Cadillac Ranch,” Bruce’s ultimate party song “Sherry Darling,” and “Hungry Heart” (with the audience taking the first verse capably) before we’re treated to a guest appearance. Gary U.S. Bonds, whose Springsteen-Van Zandt-produced album Dedication was released that April, duets with Bruce on the traditional “Jolé Blon” (which Springsteen introduced to his own sets in the UK), and Bonds takes the lead vocal on his hit single, the Springsteen original “This Little Girl.”
The third and final new song of the show, “Johnny Bye Bye” follows. Bruce offers a eulogistic rumination on Elvis Presley to introduce the song, which, like “Follow That Dream,” draws potency from its spare arrangement. It is a compassionate farewell to The King. Paired together, “Racing in the Street” extends the elegiac sentiment in a resplendent reading led by Bittan on piano.
Time to party. “Ramrod” low rides into an extra playful “Rosalita,” as Clarence Clemons set the scene with the opening lines from Lloyd Price’s “Stagger Lee”: “The night was clear, and the moon was yellow. And the leaves came tumblinggggggggg.” Band intros are on point, accented by tasty Stevie guitar licks throughout and concluding, of course, with The Big Man himself, who Bruce posits could be the next Governor of New Jersey. “Sounds like a good idea. Clarence Clemons Arena, I like that,” he says, referencing the new arena named for Governor Byrne. All of which leads to “Spotlight on the Big Man” and its brief vamp on “Sweet Soul Music.”
For the encore, the most Bruce Springsteen song Bruce didn’t write, “Jersey Girl.” This performance of the Tom Waits classic is the one that would be officially released as the b-side to “Cover Me” three years later, but I don’t recall that mix bringing Van Zandt’s guitar so charmingly to the fore. A superb “Jungleland” accompanies, with sublime soloing from Stevie and Clarence, along with a pacey “Born to Run” with Bruce soaring for “girl I’m just a scared and lonely rider.”
The New Jersey homecoming wraps with an extended “Detroit Medley” which takes several exciting detours as it careens along the turnpike. The first is “I Hear a Train,” then a rare romp through Mitch Ryder’s “Sock It To Me, Baby!” (written by Bob Crewe and Russell Brown), another scoop of Arthur Conley’s “Sweet Soul Music,” and finally a generous slice of Sam Cooke’s “Shake” in what might constitute the best “Detroit Medley” ever.
The phrase “giving the people their money’s worth” would be an apt description for the final night at Brendan Byrne Arena 39 years ago. Now, it is time to return the favor. All net proceeds from the sale of the East Rutherford 7/9/81 will be donated to the New Jersey Pandemic Relief Fund.
After crossing, un-crossing, and re-crossing the Canadian border a few days earlier, Wilco undertook a week-long stay on the Great White North side of things in early July 2006. This jaunt featured the introduction of two additional songs from the forthcoming “Sky Blue Sky” album (a third song, “Walken,” had already been in the repertoire for over a year), as well as a(nother) new arrangement of Spiders (Kidsmoke).
This particular show from The Playhouse features an excellent recording of the band in typical white-hot mid-tour form. Beginning with what is surely one of their most evocative opening songs, “Hell Is Chrome” forces those who just want to let their rocks roll to sit/stand at rapt attention. Four songs in, we get a first glimpse at “Sky Blue Sky” in the form of “What Light”, featuring some intro and first verse guitar flourishes from Nels Cline that would later be excised from the live arrangement. The biggest highlight comes a few songs later: the first (and one of the few) live performances of the unreleased (until now!) “Let’s Fight”. This rarity was first attempted during the “A Ghost Is Born” sessions, and then re-attempted, but never completed, during the recording of “Sky Blue Sky”. This is followed by the aforementioned “Spiders”, with its new ending whereby the band fades down to the sole sound of Glenn’s bass drum, only to then abruptly silence that and leave the audience to (hopefully) keep time via handclaps. Future versions of this arrangement gave the audience sufficient time and rope to figuratively hang themselves (it’s hard to clap in time at a rock show), but this one keeps things short and crisp before the final instrumental chorus comes crashing through.
Other standouts include a very rocking “A Shot in The Arm” and a beautiful extended (albeit slightly undermixed) solo from Mr. Cline on “Ashes of American Flags”.
From Ben Blackwell, official archivist of The White Stripes
Opening for Sleater-Kinney, the September 2000 performance at the Southgate House would be the first of three Stripes performance at the venue in the span of 8 months. Built in 1812, the Southgate once hosted Abraham Lincoln and was also the birthplace of the inventor of the Tommy Gun.
On this inaugural visit to the club we were told that it was haunted by a female apparition from the 1850s. Waiting in the widow’s peak everyday, she would watch for the riverboat her husband worked on. The Southgate House is situated prominently on bluffs on the Kentucky side so she could easily view its daily arrival and departure. One day, out of nowhere, the ship exploded into flames. Instantly struck with grief that her husband had perished, she hanged herself. In a cruel Shakespearean twist, that proved to be the day her husband had missed the boat, his life spared.
Yeah, if that happened to me I’d be haunting the shit out of that place too. There are other tales of Confederate soldier sightings in the halls, random specters, all-around wholesome fun for the entire family.
The band C.O.C.O. was scheduled to go on first of this evening but got caught up in some Indiana speed ticket drama and would not make it to the club in time to play their set. So the Stripes went on first, something they would only do a handful more times in their career, primarily when the Strokes or Rolling Stones were also on the bill.
Highlights for me in this show include Jack’s delivery in “Cannon” where he stretches the title out and sings it as “cannon-non-non-non-non” in a way I don’t recall him ever doing before or since. And the skeletal “Dead Leaves and the Dirty Ground” just ALMOST where it needs to be, one Bug Muff pedal away from the overdrive the song would need to become a continual set-opener for both the Stripes and his solo career.
After the show, we hung out at the Comet in Cincinnati and then crashed at Patrick Keeler’s house for the evening.
If there was ever a time to appreciate archival live recordings, that time is now.
Many years ago, I heard the brilliantly talented and famously cantankerous guitarist Robert Fripp of King Crimson posit a provocative position on the subject of live recordings. “Of the many, many performances [I’ve seen] over four decades,” he told an audience at SXSW in Austin, “I have [never] left and felt I wished to have it on tape. There was nothing in my experience of any of [those] events which were other than available to my experience. And if I wasn’t there, I missed it. And if I missed it, photographs, recordings, nothing could bring this back to me.”
Au contraire mon frère.
The core idea Fripp articulates is undeniably true: Nothing can fully replace or replicate being at a concert in person, as it happens. But let’s not throw the baby out with the bathwater. Archival live recordings are, as Ma Bell used to say, “the next best thing to being there.” (For those too young to remember, that’s what AT&T was affectionately called when it was a national telecom monopoly.)
As undeniably magical as live concerts can be, they are by nature fleeting, real-time experiences. Yes, they live on in our memories, but what’s the larger cultural value of these unique performances? When the technology was invented in the 1870s to record and preserve audio, after the spoken word, the earliest recordings captured on those cylinders were of musicians performing live. Preserving performances is arguably the fundamental underlying purpose of recording technology.
Hearing a show you attended can stir memories back to life. Amazing as that is, live recordings even allow time travel and can place us at the Tower Theater in 1975, the Roxy in 1978 or Wembley Arena in 1981 when we couldn’t have possibly been there any other way. Is it the same as having had Bruce stand on your cocktail table during the middle of “Spirit in the Night?” No, but close your eyes, let your imagination flow, and it is awfully close.
Gothenburg 7/28/12 allows fans who weren’t there at Ullevi to travel through time and space to hear one of the best nights on the Wrecking Ball tour in a closing run of European concerts that was, to quote Stevie Van Zandt’s predictive tweet before the show, “one for the ages.”
There’s something about rainy shows that brings out the best in Bruce and the band. The show opener, a cover of Creedence’s “Who’ll Stop the Rain?” is a bellwether for great things to come, with crunchy guitar leading the way. Fan-band bonds are solidified through sparkling takes of “The Ties That Bind” and “Out in the Street” (with extra long intro) before we move to the less-traveled corners of Born in the U.S.A. with an excellent “doubleheader” of “Downbound Train” and “I’m Goin’ Down.” The former extends the guitar-richness of the show’s opening salvo and benefits from the heft of the horn section; the latter restores a bit of often-missing edge to the self-deprecating tale.
The aforementioned guitar tone extends seamlessly into a sharp “My Lucky Day” in one of only four Wrecking Ball tour performances. Special nights are built on special songs, and Gothenburg has particularly juicy ones.
What is it about “Lost in the Flood?” Bruce and the band can let it lie dormant for ages, then nail it as they did in NYC 2000. “Flood” had gone unplayed for three years prior to Gothenburg, wasn’t soundchecked, yet the mighty E Street Band is more than up to the task. “In the key of E minor,” says Bruce, “then we’re gonna hit the big chord.” Do they ever. The big chord that follows Roy’s prelude smashes forth an electrifying version that sounds as vital and fresh as it did four decades prior. Bruce vocals are especially gritty, evidenced by this not-so-subtle lyric change: “Hey man, did you see that? Those poor cats were sure fucked up.” Damn.
The energy generated by “Lost in the Flood” propels the ensuing three-pack from Wrecking Ball (“We Take Care of Our Own,” “Wrecking Ball,” “Death to My Hometown”) plus kindred spirit “My CIty of Ruins.” Pick your cliche—firing on all cylinders, in the zone, killing it—all would apply, and doesn’t the horn section sound fantastic? Despite the stadium scale of the show, Jon Altschiller’s mix is tight and close, with Roy’s piano and Max’s high-hat in particularly sharp focus.
“Frankie.” Merely typing the song title brings a smile. The marvelous, lost-and-found Springsteen original premiered on the Spring 1976 tour, his first new song after the release of Born to Run. It was performed around a dozen times that year and cut for Darkness a year later (despite Bruce’s introduction saying The River). It was recorded again for Born in the U.S.A. in 1982, and that version was eventually released on Tracks in 1998.
The song’s live outings in modern times are equally limited. One-off attempts in 1999 and 2003 showed “Frankie” deceptively tricky to get right; something about the song’s lilting quality and mid-tempo pacing proved elusive. But after working through the arrangement in soundcheck, Bruce unlocks the wondrous heart of “Frankie” and lets it wash over Gothenburg in a spellbinding performance.
The show’s second act begins with slightly off-kilter take of “The River,” though normal service is restored in a crisp “Because the Night” and on through “Lonesome Day,” “Hungry Heart,” “Shackled and Drawn,” and “Waitin’ on a Sunny Day.” We step back into special-show territory with another great pick from Tracks, the rollicking River outtake “Where the Bands Are” dedicated to the fans who had traveled from show to show around Europe. It is the last performance to date of the irresistible track.
https://youtu.be/cqHBazBq51s
Sure, special songs help make special nights, but Gothenburg is more than its rarities. The performance of “Backstreets” shines as a particular standout, taking its time and accented with vocal nuances that don’t occur in every outing. I don’t think Bruce can sing it any better in this century. Boom, “Badlands” kicks in, and the show runs through the end of the main set via “Land of Hope and Dreams” and the band-spotlighting “People Get Ready” outro.
The encore might best be described as one of release. Start with Bruce’s final vocal line in “Thunder Road,” as he wavers for effect on “we’re pulling out of here to wiiiiiiin.” The contrast of “Thunder Road” into “Born in the U.S.A.” is compelling “40 years down the road” with the horns adding anthemic overtones to the song’s conclusion. The energy stays high for “Born to Run,” “Ramrod,” “Dancing in the Dark,” and “Tenth Avenue Freeze-out” before we reach the emotional apex of the night: The return of “Jungleland.”
“Clarence was a special part of Sweden,” Bruce tells the crowd. “So tonight, we haven’t done this one in a long time, and we haven’t practiced it. This is for the Big Man and for you for giving him a home for quite a few years.”
Roy and Soozie kick it off a la Main Point ‘75. The band turns the burners to high. Steve’s guitar solo is on point. As we arrive at The Moment, Bruce’s vocals are passionate, stretching out “Just one look and a whisper, they’re gaw-aw-one” before Jake Clemons hits that transcendent note. Having never listened to fan recordings of the show, I didn’t know what to expect from this resurrection, but Jake, Bruce, and the band really deliver. That first note of the solo might bring a tear to your eye, and when Jake’s spotlight ends, you hear the appreciation and recognition of what just transpired from the audience.
How does one follow up such a moment? The only way Bruce knows how, with “Twist and Shout.” Nothing can follow that, yet even after 12 minutes the audience is still “whoa, whoaing” the melody to “Badlands.” No wonder these Euro 2012 shows were so long: the audiences, Bruce, and the band just didn’t want it to end.
The White Stripes are back with their latest release in Third Man Records’ archival series. Click here to listen to The White Stripes live in Seattle, 6/16/2000. Third Man Records’ Co-Founder Ben Blackwell’s memories from the show capture the essence of those early touring days for the band.
“Heard Pearl Jam, Alice in Chains and Nirvana consecutively on the radio as we entered Seattle city limits. When we got to the club the sound guy was wearing the ‘Fudge Packin’ Nirvana tee I knew I’d see here. Took me awhile to find the Space Needle, but once I did, I knew I was officially in Seattle. While band was sound checking, I explored the city and managed to walk to Sub Pop World HQ and the Croc Club.
The Stripes were okay, Slim Moon was really into it, sold a ton of merch, saw some guy with a bootleg Gories ‘Outta Here’ t-shirt. After the show, Jack got offered to record for Kill Rock Stars and Sub Pop (from Jon Ponemon himself). Leaving the club the van wouldn’t start (for about ten seconds) giving everyone a big scare.”
In terms of The White Stripes first extended tour, Seattle seemed like a gig everyone was looking forward to. Having just turned 18 years old four days prior, I was later told that if I could get into the show in Seattle (with some of the most restrictive 21-and-over bar policies in the country) that I would be able to get in ANYWHERE. No one ever even asked to look at my ID, but the next four times I would find myself at the Crocodile Club I would have to stay in the van because I wasn’t 21 yet. Anyway, the set that night was prime White Stripes 2000 magic, all the best moments from their first two albums delivered with abandon and aplomb. The crowd doesn’t even seem to mind the early abandonment of “Little Bird”, cheering their heads off at its conclusion, nor object when Jack re-inserts the tune into the set not two songs later. While Jack’s voice had been having issues this week (he even begins the show pre-apologizing for it) outside of his changing his register for “Jolene” it sounds vibrant to me. The vitality of youth! I shot video of this gig, but it’s a terrible angle with horrible light. Maybe we’ll share it for the 30th anniversary.
The 1988 Tunnel of Love Express Tour was marked by material changes to the Springsteen concert baseline in place from 1978-1985. The band changed on-stage positions, setlist warhorses like “Badlands” and “Thunder Road” took a breather, and Bruce drafted in a horn section for the first time since 1977. But the true differentiator separating the ’88 tour from every other is its original narrative arc. A Tunnel performance was a blend of song selections, sequencing, and even on-stage elements that took the audience on a journey through the complex and nuanced world of adulthood and relationships: romantic, fraternal, and familial.
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Bruce started Tunnel shows with an invitation along the lines of, “Are you ready to ride?” The visual metaphor on stage was that of an amusement park, implying a night of thrills, chills, and spills. Marketing for the tour intoned “This is not a dark ride,” but as Bruce wrote in “Tunnel of Love,” “the house is haunted and the ride gets rough.” Does it ever.
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The Tunnel set, in story and song, explored adult life’s emotional ups and downs and the hard questions that arise when you recognize being in a deep committed relationship requires acknowledging your doubts and vulnerabilities.
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At the time, the tour’s setlist rigidity raised eyebrows from longtime fans, though it did loosen up as the tour wore on. But in hindsight, the initial core setlist in the tour’s first several weeks can be seen one of Bruce’s most fully realized artistic visions. Detroit 3/28/88 captures the Tunnel of Love Express Tour in its purest form.
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The first set in Detroit borders on perfection, opening with a stellar version of “Tunnel of Love” into “Be True,” the latter released as a live b-side from this performance. The River-era selection serves as a showcase for the Big Man, Clarence Clemons, who was at the top of his game on the tour and blows “Be True” beautifully. Patti Scialfa’s vocals are also on point.
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The resurrection of “Adam Raised a Cain” for the first time since the Darkness tour is a long-awaited return, especially with the Tunnel of Love Horns adding heft to the performance and Bruce’s guitar pushed to the fore. In terms of familial relationships, “Adam” is one end of a father-son thread that will come back later in the show with “Walk Like a Man.” But before that there is other provocative ground to cover: introspection (“Two Faces”), companionship (“All That Heaven Will Allow”), oppressive outside forces (“Seeds,” “Roulette”), shelter from those storms (“Cover Me”), self-doubt (“Brilliant Disguise”), a mother’s doubt (“Spare Parts”), and lastly the lingering impact of the Vietnam War (“War,” “Born In the U.S.A.”).
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The sequencing of the set is so strong that the transitions between tracks are as memorable as the songs themselves. “Tunnel” gives way to the soaring “Be True.” “Roulette” ends but “Cover Me” rises from the mist in the same key. The haunting keyboards that end “Cover Me” flow straight into “Brilliant Disguise.” Every song change has been thought through and rehearsed, or in some cases newly written. The stirring piano and synthesizer suite that serves as the music bed to the introduction of “Spare Parts” is one of my favorite musical elements of the entire tour, cinematic in scope and poignant in expression. Kudos Mr. Bittan and Mr. Federici.
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The set ends with a brilliant “Born in the U.S.A.,” again showing that 1988 versions of the song are the most potent, driven by Bruce’s additional lyrics and storming guitar solo.
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“Tougher Than the Rest” opens the second set on a majestic note and reminds us of its place among the very best songs Bruce has ever written. After a foray into longing via “Ain’t Got You” and “She’s the One,” the mood lightens with the playful and self-effacing “You Can’t Look (But You Better Not Touch)” and Gino Washington cover-turned-original (and ’88 tour exclusive) “I’m a Coward.” The pairing of “I’m on Fire” with “One Step Up” is a trip into a particular male psyche, perhaps even the same character at two different stages of life.
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“Part Man, Part Monkey” offers a humorous take on animal instincts before the overall narrative arc reaches its dénouement with “Walk Like a Man,” revisiting the father and son from “Adam Raised a Cain.” The resplendently detailed yet understated arrangement is augmented by horns and shows off the band’s vocal chops, too. Bruce’s singing stays true to the original, and there’s a real power in the sincerity of his performance.
The set ends with “Light of Day,” in a less refined, more exploratory form than later versions in ‘88. In fact, rather than bring closure, this “Light of Day” seems more a celebration of uncharted waters — the line that really stands out now, “Don’t ask me what I’m doing buddy, I don’t know,” lands like an overall commentary on the narrative that preceded it.
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Standouts in the encore include “Love Me Tender,” which teeters on wedding band territory until you realize that Bruce is singing the hell out of it, and a free-flowing “Detroit Medley,” with Bruce calling out key changes and the band showing off their turn-on-a-dime prowess. The medley features “Sweet Soul Music,” which gives La Bamba & Co. one of the all-time great horn parts to chew on.
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For dessert, we’re treated to the second soundcheck bonus track in the live archive series, “Reason to Believe.” While Tunnel of Love setlists had fewer variants than a typical Springsteen tour, 1988 soundchecks were often wide-ranging affairs, loaded with cover songs (some of which eventually found their way into the set) and other material. As cool as those covers could be, “Reason To Believe” is even more compelling.
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The song regularly featured on the Born in the U.S.A. tour but was dropped when the show moved to stadiums. Here, Bruce and the band test drive a moody, horn-accented arrangement that is reminiscent of what they would do with Woody Guthrie’s “Vigilante Man” two months later at Madison Square Garden. Springsteen’s vocals and harp are resolute, the music swampy, and the end product a beguiling alternative take on one of Springsteen’s best and, as later versions attest most mutable songs.
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Highs, lows, pathos, comedy, sin, redemption—the Tunnel of Love Express tour had it all, and on stage in Detroit, Bruce shared as much of himself in these rich, satisfying performances as he would do three decades later on Broadway.
With the Super Bowl just completed, social media reminded us anew about Bruce Springsteen and the E Street Band’s turn in the halftime spotlight back in February 2009. That gig speaks for itself (and will never be confused with Shakira and J-Lo’s even with knee slides), but it also proved to be the catalyst for one of the busiest periods in modern Springsteen history.
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With massive TV exposure beckoning, Bruce greenlit a new album and tour mere months beyond the conclusion of his last cycle. After putting out Magic in September 2007 and touring it for the better part of 12 months, Bruce began 2009 with the drop of another studio album, Working on a Dream, followed a week later by the Super Bowl, his most widely viewed performance ever. Barely catching their breath, Springsteen and the band kicked off the WOAD tour on April 1, which would run through November, albeit with new wrinkles.
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Nassau Coliseum 5/4/09 presents the first opportunity in the archive series to revisit the WOAD tour in its purest form, the first leg, before the full-album shows of the fall and on a night when Max Weinberg played drums the entire performance.
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Max’s son Jay had been drafted to take his sticks while the Mighty One was fulfilling his day job leading the house band for Conan O’Brien’s short-lived stint hosting The Tonight Show. Because he was training his understudy, Max shared the drum stool with Jay for the preceding eight concerts. Max’s full participation at Nassau may be one of the factors energizing this excellent performance which offers a winsome mix of recent material, welcome returns, and a few true surprises.
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Let’s get right to the point: The first half of the show is straight fire. There’s a real sense of purpose and focus right out of the gate with a punchy “Badlands” straight into “No Surrender.” Familiar territory, yet sounding mighty fresh indeed, buoyed by the E Street Band in especially fine voice (a good example of details you can only hear in the archive series recordings). Listen for lovely vocals from Soozie and Patti at the top of “No Surrender” and clear evidence of the night’s high spirits: after Bruce sings “Hearts of fire grow cold,” Clarence shouts an affirmative, “YEAH!”
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With the show clipping along, Bruce goes all-in for “Outlaw Pete,” and damn if it doesn’t work, as his conviction brings the hokum narrative to life. Springsteen and the band have a rollicking good romp through the mini Western epic, and there’s even a quick nod to “Be True” in the final solo.
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A snappy “She’s the One” makes an unusually early and appreciated appearance in the set, continuing the cool E Street vibes. Like “Outlaw Pete,” Bruce digs deep for “Working on a Dream” in what has to be one of the best versions of the song, sounding vital and rich, once again resplendent with background vocals from the band. One of the tour’s hallmarks was Springsteen’s preacher rap in the middle of the title track, and his gospel will surely move you, especially with the The Big Man’s call-and-response intonations so clear and heartfelt.
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“Seeds” made a much-appreciated reappearance in 2009, the first E Street Band turn for the song since the Tunnel of Love Express Tour and played in a potent, straightforward arrangement that wraps with inspired guitar soloing. “Johnny 99” marks another WOAD tour return in a full-band version that bears an unmistakable Jerry Lee Lewis flavor. There’s no mistaking the blast the band is having, with Nils taking a sinewy slide guitar solo and Soozie and Patti singing sweet, train whistle “Woo Hoo”s.
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Six-string pyrotechnics continue with a showcase for Lofgren on “The Ghost of Tom Joad,” completing the so-called “recession pack” of songs that started with “Seeds.” Thanks to Jon Altschiller’s revealing mix, the song is also a showcase for Roy Bittan, who, unbeknownst to most of us until now, plays a beautiful piano part behind Nils’ soaring solo.
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Another distinguishing feature of the WOAD tour was the impact of song-request signs made by the audience. The acknowledgment of these signs organically evolved the show to feature a moment where, during “Raise Your Hand,” Bruce collected signs and decided what requests to grant.
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Kismet was definitely in play for the first request granted, the one and to-date only performance of “Expressway to Your Heart,” a minor hit for the Soul Survivors in 1967 written by the legendary Philadelphia songwriting and producing team Gamble & Huff. Anticipating the request, Springsteen and the band rehearsed and soundchecked the song, which helps explain why their one-off version is so bloody good.
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Bruce has a rich history of covering minor hits (“Double Shot of My Baby’s Love,” “Little Latin Lupe Lu,” “Mountain of Love”) and making them his own, and “Expressway to Your Heart” joins the pantheon of the best of them. With its irresistible hook and infectious chorus, the song is an instant E Street classic cover worth the price of admission.
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The request section goes from strength to strength as a well-oiled “For You” follows “Expressway,” then the tour premiere of “Rendezvous,” an asset to any set list. This wonderful sequence concludes with a fizzing version of “Night.” What more could you want?
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The back nine of Nassau 5/4/09 holds up its end of the bargain, too. Some consider “The Wrestler” to be the signature performance on this leg of the tour, and the case is made strongly tonight. The song’s rustic, fleeting majesty is on full display (does anyone else hear hints of U2’s “Kite”?), with Bruce’s voice rough-edged and full of emotion. In hindsight, the story told by “The Wrestler” echoes some of the sentiment expressed first-person in Bruce’s autobiography and Broadway show.
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Beckoning Patti to the mic, Bruce changes the mood with a soaring “Kingdom of Days,” pledging his partnership in full voice in this underappreciated song, rare for celebrating love not at its inception, but further on up the road.
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A trio of 2000s songs (“Radio Nowhere,” “Lonesome Day” and “The Rising”) carries us to “Born to Run” and the encore, where Bruce speaks nostalgically about how “these old buildings” — arenas like Nassau Coliseum, the Spectrum in Philadelphia, and the Sports Arena in Los Angeles — are “great concert halls” that are being torn down one by one. Springsteen’s history in Nassau Coliseum alone, site of the epic New Year’s Eve 1980 set among others, is significant and resonates through this final performance in the original arena which has since been renovated.
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The encore ends, as it should, in joy mode, with “Dancing in the Dark” (in which Garry Talent keeps the time very tight indeed) and “Rosalita.” And surely any performance of “Jungleland” from Clarence’s final tour should be treasured. But it is the first line of a song unique to the WOAD tour, “Hard Times (Come Again No More),” that lingers: “Let us pause in life’s pleasures and count its many tears.”
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Following Bruce’s comments about the value of old buildings like Nassau Coliseum and his suggestion to the audience to support Long Island Cares (founded by Harry Chapin), the sentiment of “Hard Times” — making its live archive debut here — is fitting. In early 2020, a time marked by national travails and reminders of how precious and fleeting life can be, the 166-year-old lyric sounds even more like a directive all should heed.
Jam Cruise is always an epic experience. From pool-side acoustic daytime sets to 4 AM super jams in the Jam Room, the boat creates an atmosphere unmatched by any other festival. Truly, nowhere else, can you be sailing the high seas with the certainty that the set you are listening to is a once in a lifetime experience. We asked a multi-year patron about what the vibe of the boat was this year, and she simply answered, “The boat was incredible. If you don’t leave there feeling better and more positive than you didn’t smile at enough strangers.” It’s a beautiful thing, being side by side with colorful costumes and expert musicians, braving a storm in the middle of the Caribbean ocean, all while dancing your way through a cruise ship. Whether you’re trying to recover from your fear of missing out or wishing to relive your best vacation of the year, nugs.net has you covered!
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Check out our list of select soundboard audio from Jam Cruise 2020, now available to stream and download below:
Steve Kimock Featuring John Kimock, Robert Walter, Reed Mathis, and George Porter Jr.
Starting today, nugs.net subscribers can experience The Rolling Stones like never before. Filmed with stellar quality, a collection of vintage performances from The Rolling Stones’ Vault is now streaming in the videos section of the nugs.net app. There are currently three shows from the 1970s available to watch with more on the way soon. Now is your chance to watch Mick, Keith, and the rest of the band during the golden age of Rock’n’Roll.
We’re back for the first Third Man Thursday of the year and this month’s release is a unique treat. Today, Third Man Records is releasing The White Stripes’ 2001 show at Orange House in Munich, Germany. The show is one of only two known White Stripes shows to be recorded on reel-to-reel tape. Third Man Records’ Co-Founder Ben Blackwell’s write up details the unique process of mastering this show from the 1/4″ tapes:
This show is a remarkable performance in stellar quality. Boy do the Germans know how to record! Of particular interest was the fact that a radio broadcast in 2001 was recorded to 1/4” tape. Just seems like…such an anachronistic move. The fact that the tapes ended up in the Third Man Vault made it all the better to transfer at an appropriately-high bitrate and then share them here. But the tapes themselves were in an incredibly odd iteration which I had never even seen before. They weren’t on reels (or flanges) and instead the tape was all held together by sheer tension around a metal center piece that looks reminiscent of a 45rpm adaptor. I am told they are called AEG hubs. Additionally, the tape was wound with the reels magnetic side OUT. Leave it to our main man Bill Skibbe to track down a German Telefunken tape machine IN DETROIT and work magic on his end. The heads on Telefunken machines face IN, so he had to surgically unspool, respool, edit out dead space AND track down a step up converter as the machine only runs on 220v electricity. I wish everyone had their very own Bill Skibbe to solve technological quandaries like this. I mean, he IS for hire at Third Man Mastering, but I digress.
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There are some songs missing here that are included in audio circulating amongst fans, in this instance clearly missed by engineers swapping out reels in real time. Rather than try to include from inferior sourced audio, we’ve chosen to just present the show exactly as it exists on these original tapes. Save for one EARLY gig (1997?) I am unaware of any other White Stripes performances that were captured on reel-to-reel tape, so this feels extra-special. Starting the set with “Death Letter” is peculiar and I love it…I can’t recall any other Stripes performance beginning with that song, but I’m sure some die-hard will take the opportunity to tell me otherwise! Coupled with rousing takes on “Love Sick” and “The Union Forever” the entire performance captivates. A prime example of the on-fire abandon Jack and Meg were brimming with in 2001.
Since 1976, Austin City Limits has been providing Texas and the rest of the world with iconic live sessions. Over the holidays New West Records added more than 15 of the greatest ACL performances of all time to the nugs.net catalog. Experience legendary performances from artists like Guided By Voices, Kris Kristofferson, David Byrne, Steve Earle, and more. The performances span four decades with shows from 1976 through 2004. Each show is available to purchase in the nugs.net store and you can stream the whole collection with the nugs.net app.
We’ve got four action-packed shows from last month’s Strings and Sol festival now streaming. Listen to performances from The Infamous Stringdusters, Leftover Salmon, and Railroad Earth that feature tons of debuts and guests. There are two sets to check out from The Infamous Stringdusters. On December 13th they played a beach set and the next day they returned with a debut cover of “Stairway to Heaven.” The Leftover Salmon show features Del and Ronnie McCoury on a pair of tunes and multiple live debuts.
The home stretch of the Darkness tour in late 1978 may look like a victory lap, but its purpose was to return to key markets and seal the deal. The final push raised Springsteen and the E Street Band up from theaters played on previous legs to bigger rooms, with dates in arenas in cities like Cleveland, which closed the tour with a pair of shows at the Richfield Coliseum on New Year’s Eve and New Year’s Day 1979.
In the Bay Area, that meant graduating from the Berkeley Community Theater and San Jose Center For the Performing Arts, played in the summer, to back-to-back nights at legendary promoter Bill Graham’s Winterland, capacity 5,400.
The first night at Winterland would also serve as the fifth and final live radio broadcast from the Darkness tour, thrilling listeners around the Bay Area on KSAN-FM and strategically extended via simulcast to audiences in Sacramento, Eugene, Portland, and Seattle on their respective rock stations. The simulcast primed the pump in two of those markets, as Bruce would play the Rose and Emerald cities in just a few days’ time.
By that point, Springsteen’s management and Columbia Records had recognized that the Darkness tour broadcasts which preceded Winterland (The Roxy in Los Angeles, Agora in Cleveland, Passaic, and Atlanta) were a powerful marketing tool, not only reaching established fans in core and adjacent markets but converting fence-sitters who were loyal listeners to those all-important rock radio outlets. Live concerts were already a staple of FM radio at the time, including nationally syndicated shows like the King Biscuit Flower Hour and Rock Around the World. Simulcasts of local concerts were equally common on FM stations like WMMR in Philadelphia and WMMS in Cleveland.
But Springsteen’s strategy and tactics were unique. No artist I know of had ever done five live broadcasts from the same tour and simulcast the shows regionally — taking over the airwaves for three hours at a clip, no less. In the process, Bruce built an alliance of rock stations, and their listeners that would remain loyal for years to come. Springsteen had long enjoyed incredible word of mouth about his concerts, but the ’78 broadcasts provided tangible, recordable, and shareable proof.
There was also an idea in the air that the follow up to Darkness on the Edge of Town simply had to be a live album. The broadcasts provided an opportunity to roll in a remote recording truck and kill two birds with one stone, sending the show over the air and capturing it to multi-track tape for potential future release. It just took a few decades longer than expected.
Fans and collectors have spent millions of pixels on message boards discussing and debating which shows were recorded on multi-tracks and wondering why more early Bruce gigs weren’t done. Beyond the expense (which was significant), the act of recording a live concert to multi-track itself was no simple feat circa 1978.
A 24-track, two-inch, reel-to-reel tape recorder is a massive piece of heavy equipment with a large footprint. The recorders are mounted on carts with industrial casters so they can be rolled into position. Two-inch recorders also require a lot of power to operate, and they are extremely sensitive to the conditions of their environment, particularly temperature.
Oh, did I mention you need two of them to record a concert without gaps? Two-inch tape and recorders were designed to record one song in the studio, not a three-hour concert. Given their short tape lengths, a recording engineer had to start a tape going on one machine, wait for it to run most of the way through, then fire up a second overlapping tape on the second machine and so on. Back and forth they would go: loading, recording, and switching tapes in real time on two machines to preserve a full performance. Today, you can record an entire show to multitrack on a laptop and a breakout box that fits in a backpack.
Given the complex logistics, it should come as no surprise that multi-track recording could occasionally go wrong, even with experienced engineers and producers in the truck. Whether there were complications on the night or tapes were lost over time, the surviving multi-track reels of the first night of Winterland cover less than half the show. The inclusion of “Fire” on Live 1975/85 from 12/16, not the better-known 12/15, may be a clue that the problems occurred on the night in question.
Luckily, remote recording units typically carried a third reel-to-reel deck with them as well: a high-quality, 15-IPS, two-track recorder to serve as a back-up/reference capturing the front-of-house mix as it happened. That’s exactly what the Record Plant’s R2R did on December 15, 1978, recording a pre-broadcast stereo feed from the mixing board.
Forty-one years later, we’re fortunate those two-track, 15-IPS masters from the familiar 12/15 show were recently unearthed, along with the complete multitrack masters from the previously unheard 12/16 set. Both sources have been newly transferred via Plangent Process, restored (12/15) and mixed (12/16) by Jon Altschiller and mastered by Adam Ayan to deliver a complete document of the Winterland stand, both the beloved broadcast performance from night one and the fresh-to-the-world set from night two.
A bounty of two peak Darkness concerts should be at the top of anyone’s holiday wish list. Most will know the celebrated 12/15 set like the back of their hand from tapes and bootlegs of the broadcast, but for 12/16, here’s a user guide to this wonderful addition to the live Darkness canon.
1) Bruce changed the set on night two in deference to fans attending both shows, opening with “Good Rockin’ Tonight” and playing “Rendezvous” for the first time on the tour. Incredibly, “Rendezvous” is one of six unreleased originals performed in the 25-song set, along with “Independence Day,” “The Fever,” “Fire,” “Because the Night” and “Point Blank.”
2) Introducing a weighty “Independence Day,” Bruce says, “This is a song I wrote a couple years ago. I was originally going to put it on Darkness on the Edge of Town. This is called ‘Independence Day.’ This is for my pop.” With his parents living in nearby San Mateo, we can assume that Douglas was very likely in the audience for the performance.
3) Bruce tells a completely different and much longer story than night one setting up “Santa Claus is Comin’ to Town.” The tall tale includes entertaining references to Johnny Carson and Kellogg’s Pop Tarts, plus some audible chiming in from Stevie Van Zandt, who wants a new amplifier from Saint Nick.
4) Bruce dedicates “Racing in the Street” to “all the San Francisco night riders,” but after singing “Tonight, tonight, the strip’s just right” he goes totally blank. “I forgot the words,” he says. It is an endearing and rare moment of vulnerability, which he not only recovers from gracefully, but which seems to inject the show with an adrenaline shot: from that point forward, Springsteen and the band are en fuego. “Jungleland” brings the first set to a crackling close, riding the powerful dynamics of Clarence Clemons on saxophone and Van Zandt’s guitar solo, setting the table for a stunning second act.
5) “It’s Hard to Be a (Saint in the City)” is another set list change and serves as a stonking start to a second set for the ages. The guitar tone on this one should be bottled as a stimulant.
6) “Because the Night” begins with what might best be described as an experimental guitar intro that is more a sonic survey of echo, delay, and sustained notes than strumming. It’s the most Frippertronics approach I have ever heard Springsteen explore. Fascinating.
7) How about the version of “She’s the One”? The intro weaves “Mona” and “Preacher’s Daughter,” while Bruce later riffs on Van Morrison/Them’s “Gloria.” Stevie sings soulful retorts all over the performance, all in the service of Bruce’s heightened lead vocal. Listen to the incredible run he takes through, “Just one kiss, she’ll turn them long summer nights, with her tenderness / The secret pact you made, when her love could save you, from the bitterness… WHAAAAHOO!” Holy crap.
8) “The Fever” is focused and luscious, providing a deserved spotlight on the band, especially Danny Federici and the Big Man, who shine ever-so-brightly as they thread their solos around each other. Rest in peace, E Street icons.
9) A slightly shambolic “Detroit Medley” features a rare foray into Jerry Lee Lewis’ “Whole Lotta Shakin’ Goin’ On.”
10) Finally, connoisseurs of audience noise (and I know you’re out there) should be extremely pleased with the level of fan interaction in Jon Altschiller’s mix. The crowd is ever-present and in full voice throughout the night and who can blame them?
Thanks to former Columbia product manager Dick Wingate for supplying contemporary information and documentation about the Darkness tour broadcasts.
It’s a White Christmas this year with two new archival releases from The White Stripes. The first release stretches back over twenty years to September 1999 in Detroit, Michigan and the second comes from the Seattle Seahawks Stadium Exhibition Center in 2003. Check out Third Man Records’ Co-Founder Ben Blackwell’s write up of both unique shows below.
What an odd show. Part of a mini festival dubbed Gutterfest, organized and emcee’d by local promoter and DJ Willy Wilson (that’s his voice you hear introducing the band), it was a rare event for the Stripes to open a show with a cover song, let alone one they had never played before and would never play again, but that’s the case with the Captain Beefheart classic “Diddy Wah Diddy” kicking off the performance. Followed by “Never Thought That I Could Love You” (sometimes titled “Lucky to Know You”), which holds a unique profile as being a song played by the White Stripes live a handful of times, yet never tackled in the studio and never showing up in any other Jack White outfit ever again. There might be a video kicking around of another show where the band plays this, otherwise, this may be the only time/way you’ll ever get to hear it. Otherwise, the set list is filled with early favorites and most excitingly, TONS of stage banter. I’ve no idea what had Jack so talkative this evening, but it sticks out, hands-down, as my single favorite collection of banter for a White Stripes show. From George Washington, Jack’s opinion on the size of roads, how much free time kids should have, who exactly is the “moon man”, where the street you grew up on got its name from and what exactly makes Wayne Kramer a “legend” are all addressed. In my opinion though, the best comment is after the band finishes playing “Why Can’t You Be Nicer to Me?” the sound man comes over the muffled stage speaker and says “That’s it guys” to which Jack replies, incredulously, “That’s it?!?! I was BORN here man!”
Weird to think about it now, but the Stripes would only perform as an opening act in Detroit ONE more time after this gig. While this show is far from perfect, it feels outright inspiring to see the trajectory Jack and Meg would take from this moment. Ultimately, a fascinating show for anyone with a deep appreciation of the band OR just a casual fan wanting to hear songs that exist nowhere else. – Ben Blackwell, Third Man Records
A dud of a room if there ever was one. I have no idea why they put on shows in this space. I mean all disrespect when I call this space a facility. But when the White Stripes are white hot in the touring behind Elephant I assume you just gotta play whatever room fits the crowd. And fortunately, the shortcomings of this space failed to affect the sound captured or the band’s performance. This show is of particular note as it would be the first time the Stripes would play with Yeah Yeah Yeahs since the YYY’s first-ever show back in September 2000. Having to follow an explosive opening act, the Stripes come out of the gate guns blazing with a bonkers version of “The Hardest Button to Button” which, while somewhat odd to land in as the set-opener, helps establish the mood. My favorite moment on this recording is the extemporaneous version of Yeah Yeah Yeah’s “Man” done in a medley with “Astro” and “Jack the Ripper.” Playing a cover in front of the folks who wrote it, to me, is the ultimate sign of respect. Equal parts electric, unhinged, of-the-moment and uncannily compelling. Truth of the matter is that it felt like ALL shows on this 2003 West Coast run were wild. One of the more memorable span of shows for me, the band hitting its stride at the highest of heights. And yes, listening now, it is absolutely totally weird hearing “Seven Nation Army” in the middle of the set, but at the time, I don’t think I felt that way.
Of the 63 or so shows the White Stripes recorded in 2003, this appears to the be the only performance we do not still have multitrack masters on. All audio comes from a CD-r made the evening of the performance with a “Glenn Sound” sticker label attached to it. I know that Glenn Sound is a studio in Seattle where the Stripes did a radio session back in 2002, but am unsure as to what their involvement was for this 2003 show. The CD was left on a table in the band’s tour bus after the show and I was sure to snatch it up, only re-discovering it in my basement mere weeks ago. – Ben Blackwell, Third Man Records
It’s that time of the year where artists are looking back at their favorite highlights from the last 12 months. The String Cheese Incident’s Travelogue 2019 covers some of the most unique moments from the band’s extensive travels over the past year. The selections were handpicked by SCI archivist Larry Fox who included a special message for fans with the collection.
“2019… The String Cheese Incident’s 25th year! In putting together this year’s look-back, I tried to pull together some of the more unique moments from this year’s Incidents. This is not so much a “best-of”, but a “taste” of all the corners of the musical spectrum that the band touches on from night to night. There were a ton of great performances that didn’t fit on the four disc format. There’s a heavy dose of “one-time-played”, as well as a few key “guest artist contributions”. I encourage you to explore the rest of the 2019 catalog on LiveCheese & nugs.net. If you haven’t already signed up for the nugs.net streaming app, you owe it to yourself to try it out! Every show on this site is available for streaming – a miracle of modern technology!
As I say every year, I hope you enjoy listening to this collection as much as I enjoyed putting it together! Hope to see you guys out on the road in 2020! – Larry Fox (SCI Archivist)”
The entire Travelogue 2019 collection is available as a free download and is currently streaming free in the nugs.net app.
Earlier this year we added the Wilco Roadcase collection to the nugs.net catalog. Today, five new shows are being released for the first time ever, exclusively on nugs.net. This release includes four Wilco archives from 1999 – 2004 and a special Jeff Tweedy solo performance from 2005. Check out the details on each show below.
1999: Shepherd’s Bush Empire, London, UK
Before embarking the following month on a proper tour in support of the release of Summerteeth (a tour that would last for most of 1999), Wilco played a few “showcase” shows, including this one at Shepherds Bush Empire in London. As evidenced by this recording, as well as the one from New Orleans (which also exists in the nugs.net archive), these shows kept things pretty “close to the vest”, presenting the new material in arrangements that were very close to the recorded versions (in contrast to the looser approach that would prevail later in the year). With Jay Bennett spending more time behind the keyboards, and the continued use of Leroy Bach as an additional sideman, the band was able to reproduce the lush sounds heard on the album, which was released three weeks prior. In addition to the new Summerteeth material, other highlights include powerful versions of “Hotel Arizona” and “Hesitating Beauty”.
Wilco set out on their fall 2001 U.S. tour with the aggregate weight of the band’s recent lineup change, the aftermath of the 9/11 attacks, and promoting a new record that was not yet officially released. While earlier shows revealed a band still finding its sea legs (no doubt due, at least in part, to what was happening in the world at the time), by the time they landed in San Francisco for a three-night run at the Fillmore, Wilco was a minimalist yet powerful four-piece. This show, judged to be the best of the run, sees the band playing beautiful, sparse arrangements of nearly all of Yankee Hotel Foxtrot, with “Ashes Of American Flags” being a particular standout. Other highlights include what Jeff announces as their first live performance of “Pieholden Suite”, and a crazy, chaotic, and extended “Misunderstood” featuring a gnarly electric guitar loop.
2003: Festival Pier at Penn’s Landing, Philadelphia, PA
Wilco and tour co-headliners Sonic Youth head into Philadelphia’s Penn’s Landing (on the banks of the Delaware River) following two shows at New York’s Central Park. By this time, the Tweedy / Stirratt / Kotche / Bach / Jorgensen five piece lineup had been playing together for about a year, with Mikael now playing a full array of keyboards, resulting in a more dense and intricate sound. Highlights of this show center around the still-formulating arrangements of songs that would later appear on the A Ghost Is Born album, including a very electric version of “Muzzle of Bees” (with some different lyrics) and a bopping take on “Spiders (Kidsmoke)” that splits the difference between the earlier “folk-y” approach and the full-on “Kraut Rock” version to follow. In addition, the encore includes and extended and intense version of “Laminated Cat” featuring frequent collaborator and then Sonic Youth member Jim O’Rourke.
Following opening sets by Sleater-Kinney and The Flaming Lips, Wilco sets the tone for a raucous New Year’s Eve by taking the stage at New York’s Madison Square Garden (in their pajamas) and opening with the not-so-fist-pounding “Less Than You Think”. Not to worry…party intentions are quickly displayed as the band follows that up with a version of “Spiders (Kidsmoke)” played at breakneck speed. “Come for the repertoire, stay for the covers” is the order of the night, as the band includes, among many others, versions of “Living After Midnight” (Judas Priest), “(Don’t Fear) The Reaper” (Blue Oyster Cult) and even “Love Will Keep Us Together” (The Captain and Tennille). Some of these covers would enter into the band’s short-term repertoire, while others were “one and done” for this special event.
2005: Tribeca Performing Arts Center, New York, NY
Jeff Tweedy’s second-ever full solo tour rolled into Lower Manhattan’s Tribeca Performing Arts Center on November 16th and 17th, 2005. Band-mate Nels Cline opened the show on the 16th, and Glen Kotche opened on the following night. In addition to Wilco favorites and deep cuts, these shows also featured material from Jeff’s days in Uncle Tupelo, as well as extended and hilarious “discussions” with “the abyss”…pitch black audience members talking as if they were voices inside his head. But the true highlight are the two Loose Fur songs performed by…Loose Fur. Jeff brings out Glenn to play a few songs with him as he had been doing (and would do) throughout the tour; the difference on this night being that Jim O’Rourke would join them on bass for “Laminated Cat” and the yet-to-be-released “The Ruling Class”. This would mark only the third time that Loose Fur had appeared onstage, with the other two shows also happening in New York, back in 2002.
Dopapod is back with another massive drop of new shows. The Dopapod catalog on nugs.net has nearly doubled with this latest collection. There are tons of unique performances to explore from 2011 to 2019. Every show is available for individual download or you can stream all 200+ shows in the nugs.net app. Don’t know where to start with the new shows? We’ve got you covered with some highlights:
Three decades on, one can underestimate the significance of the Ghost of Tom Joad tour. Fans had been talking about the prospect of a solo acoustic tour since Nebraska, a dream reinforced by the Bridge School appearance in 1986 and the sublime sets Springsteen turned in at the Christic Institute concerts in 1990. (The Bridge and Christic shows are available for download as part of the live archive series.) But it would be another five years for Bruce to go it alone for real, starting his first solo tour in December 1995 and continuing well into 1997.
Not only was he playing on sans band, but he was performing in theaters the size of which he hadn’t seen since the Darkness tour. The period is also notable for the debuts of several original songs (e.g. “It’s the Little Things That Count” and “There Will Never Be Any Other for Me But You”) in a set that grew more exploratory in assaying Bruce’s back catalog as the tour carried on.
Then came a series of remarkable hometown bookings. In November 1996, Bruce played his old high school, St. Rose of Lima, in Freehold, NJ (also available in the live download series). Later that month, a three-show stand at the Paramount Theatre in Asbury Park, which was not only the namesake of his debut album, but the city whose clubs had served as a finishing school for the young musician and his future bandmates. Based on available information, Springsteen had not played Freehold in the E Street Band era, and he hadn’t done a proper concert in Asbury Park since sometime in 1973.
Given the so-called trilogy of recent projects looking back at his life (the book Born to Run, Springsteen on Broadway and Western Stars), one could suggest the November 1996 Shore shows were the first steps in literally revisiting his history.
Armed with that awareness, the first thing Bruce says as he takes the Paramount Theatre stage is, “Greetings, from Asbury Park.” We’re treated to three tracks from the album: a shambolic “Blinded By the Light,” plus lively takes of “Does This Bus Stop at 82nd Street?” and “Growin’ Up.”
“What the hell was I thinking about when I wrote all that stuff?” he asks with a hearty laugh as he wraps the trio. One likeable hallmark of the Joad tour is an unmistakable streak of humor, darker in tone and language, that seemed to intentionally contrast with a more earnest persona that had become the de facto depiction of our hero.
When someone shouts for “Mary Queen of Arkansas,” Bruce’s candor is priceless. “No. I ain’t gonna be playing that tonight. I tried to play that at home a few nights ago, and I couldn’t figure out what it’s about.”
The top of the show is appealingly loose but turns more meaningful with a distinctive reading of “Independence Day.” The song’s only tour performance is lightly Joad-ified and resolute, as the protagonist tells the tale with wistful distance and perspective. The 12-string “Darkness on the Edge of Town” is captivating as always, and “Johnny 99” is excellent — it, too, carries a tinge of reflection.
All four Shore shows featured supplemental musicians, and this night showcased the critical contributors: Danny Federici, Patti Scialfa and Soozie Tyrell. Phantom Dan sneaks on stage appropriately in a rare outing for “Wild Billy’s Circus Story,” while Soozie and Patti bring one of those aforementioned deep cuts to life in an exquisite version of the criminally underplayed “When You’re Alone” from Tunnel of Love. The deceptively simple rumination on the loss of love remains as poignant as ever.
Staying in the hidden gems lane, all three contribute to one of Springsteen’s songwriting masterpieces, the “Born in the U.S.A.” b-side “Shut Out the Light.” Introduced as a song he wrote shortly after Nebraska, “Shut Out the Light” pulls another narrative thread on returning Vietnam veterans and the war they brought home with them. Bruce recalls the draft board in Asbury Park in the late ’60s and acknowledges his luck in getting out (a story told in greater detail in his autobiography) as he introduces a song about someone who wasn’t as lucky.
The homestretch of the set sticks to the established and powerful Joad-tour core, including “Born in the U.S.A.,” “The Ghost of Tom Joad,” and “Sinaloa Cowboys.” But Bruce makes one fascinating and to some degree unlikely inclusion, placing “Racing in the Street” between “The Line” and “Across the Border.” Not unlike the earlier performance of “Independence Day,” “Racing” carries subtle notes of retrospection and world weariness as it rides Soozie Tyrell’s melancholy violin. It’s not a long rendition like it would be in the hands of the E Street Band, but composed, potent, and unique to this tour.
Every live version of “Across the Border” and the story which precedes it truly capture the heart of Tom Joad. Bruce movingly recounts seeing John Ford’s movie Grapes of Wrath and the moments in the film that so deeply affected him, calling out specific scenes and camera framing with a director’s eye and quoting key lines of dialogue that form a sort of outline for the questions Bruce explores on the album and tour.
For the encore, the mood turns upbeat, starting with “Working on the Highway” and continuing with a fine “This Hard Land,” again featuring Danny Federici on accordion. Of course Danny returns two songs later as well for Bruce’s ultimate boardwalk homage, “4th of July, Asbury Park (Sandy),” introduced with a sweet remembrance of the music scene and players that were there from the beginning. What comes in between is the tour debut of “Rosalita,” in a highly uncommon acoustic arrangement that makes up in liveliness what it lacks in musicality.
We end with the powerfully reimagined “The Promised Land.” While “Dream Baby Dream” was more of a pure mantra in the same set position on the Devils & Dust tour, “The Promised Land” a la Joad is a hymnal, too. Bruce’s acoustic guitar thump serves as the rhythm track propelling a reinterpretation that transports the song from exaltation to something more humanistic.
In the two nights that followed, Springsteen was joined by more guests and debuted a host of other rarities as the tone shifted ever more festive. But at his first show in Asbury Park in more than 30 years, recognition of a return to the place of origin is a compelling presence in nearly every song.
Third Man Thursday is back for its latest edition, this time featuring two releases from the Third Man Records archives. There’s something old and something new to explore here with a 1999 show from The White Stripes and 2014 audio from Jack White. Third Man Record’s co-founder Ben Blackwell is back this month with some background on both shows:
Jack White Live at Third Man Records 4/19/2014 – While most people would know this show for “Lazaretto” and “Power of My Love” being pressed onto a 7” 45rpm single a mere 3 hours and 55 minutes after its recording and touted “The World’s Fastest Record”, it’s easy to forget that a decent-sized set of other songs were also performed that morning. This show may be the earliest Jack White has ever performed a concert? In addition to being the first performance on the “Lazaretto” touring run for JW, it would also be the debut live performances of several classic songs in his catalog…the aforementioned “Lazaretto,” “High Ball Stepper,” “Would You Fight For My Love?” “Just One Drink” and “Three Women.” Featuring contributions from Cory Younts, Ikey Owens, Dominic Davis, Olivia Jean, Fats Kaplin, Scout Pare-Phillips, Daru Jones and Lille Mae Rische, this 12-song set is a perfectly distilled collection of what made the “Lazaretto” world tour so captivating. – Ben Blackwell, Third Man Records
The White Stripes Live at the Gold Dollar Vol. III 2/6/1999 – After the Stripes finished the tracking of their first album (taking place just a stone’s throw from the Gold Dollar) in January 1999, they immediately focused attention on a live performance at the Gold Dollar on Saturday February 6th, 1999. As only the Stripes’ second-ever headlining show, the gig was notable for the first-ever live performances of songs “Astro”, “Suzy Lee” and the Robert Johnson classic “Stop Breaking Down”…all of which would be featured on their self-titled debut album released just three months later. The transitional nature of the setlist of this performance captures the band as they grapple with the impending release of their new album and the best way to showcase that material prior to its release. – Ben Blackwell, Third Man Records
Any longtime fan who has seen their fair share of Springsteen shows has at some point played the Time Machine game: If you could go back in time and see any Bruce concert, which would it be? A wish to witness tours and performances well before our time is a charming fantasy. More painful is taking stock of the shows you could have seen but didn’t. Yet another level is more haunting still: concerts you were supposed to attend until life got in the way.
Los Angeles 10/23/99 is my cross to bear. I was living in the Northwest at the time, which the Reunion tour wouldn’t visit until April 2000. That meant my closest chance to see the reconvened E Street Band were shows in Oakland and Los Angeles, the latter a four-night stand. A fortuitously timed work trip allowed me to catch the second night at the newly opened Staples Center on 10/18, and I was holding tickets for the final show on 10/23, for which I would fly back to LA.
On 10/22, the flu hit me hard. After much deliberation and soul searching, I conceded I was just too sick to travel, canceled my trip, and gave away my tickets.
On the morning of 10/24, I got on the Internet to check the setlist of the show the night before and realized what a terrible choice I had made, shouting the following between several choice expletives: “He played ‘Take ‘Em as They Come’?!” “Incident on 57th Street?!” “For You?” “Blinded By the Light?” “The Promise?” “SOLO PIANO?!” Motherclucker!
That nagging regret has not relented to this day, and the release of 10/23/99 confirms it is justified. The final LA ‘99 show is an outstanding Reunion tour performance, from the moment “Reverend” Clarence Clemons implores, “Brothers and Sisters, all rise” to start the show. There’s something special about Reunion sets that open with the “Meeting in the Town Tonight” preamble, and going from that straight into “Take ‘Em as They Come” is irresistible. The River outtake/Tracks highlight is one of those songs I never imagined I would hear in concert back when it was but a hissy song on a cassette I got mail order via a classified ad that ran in the back of a music magazine like Goldmine or Trouser Press.
For me, that’s one of the elements that made the Reunion tour so enthralling. The band was back together for the first time since ‘88, but they were also playing unreleased songs I never dreamed possible in a Springsteen concert. Add to that the return of songs unplayed since the ‘70s and you had the intoxicating belief that any song could find its way into a Reunion tour setlist.
The first half of the set nails the ‘99 blueprint, with the notable inclusions of an excellent “The Ties That Bind” following “Take ‘Em,” a resolute “Darkness on the Edge of Town,” and one of the best takes of “Factory” on the tour. It’s fascinating how distinct this “Adam Raised a Cain” is compared to the performance from the Chicago ‘99 archive release recorded less than a month before, putting more muscle into thick guitar where Chi-Town soared on incredible vocal dynamics.
Then there’s the humor. I’m not sure Bruce has ever been more deadpan than delivering jokes expressing his disdain for the corporate branding of LA’s state-of-the-art arena. “Good evening office supply lovers,” he says. “I’ve been searching for Mr. Staples.” On opening night of the run, he called out the building for its triple-decker skyboxes that start where upper bowl of a typical arena would be. “They don’t call ’em middle-of-the-room boxes,” he added, before invoking a line he famously uttered at The Roxy 21 years prior: “I don’t play no private parties anymore.” True to his word, despite Staples Center being the newest and biggest arena in Los Angeles, Bruce has not played another concert there to this day.
Every archive release provides an HD window to hear details otherwise lost on bootleg recordings and 10/23/99 is no exception. Though they are but a few seconds each, I love hearing Danny Federici’s organ swells at the start of “Murder Incorporated” and “Incident on 57th Street.” HD quality also shines a light on Roy Bittan’s lovely playing on the aforementioned “Factory,” not to mention Bruce and Patti’s lilting harmonies that wind down the song.
The back half of 10/23/99 is sensational. By request, we get “Incident on 57th Street.” This Wild & Innocent fan favorite returned to the set in Philadelphia on 9/25/99 for the first time since Nassau ‘80, but its appearance here is arguably even more special. Based on available setlists, Springsteen had never played the song on the west coast, let alone LA, going all the way back to 1974. For all but a lucky few, this was its Pacific Time Zone debut.
“Incident” is followed by an essentially perfect “For You,” which couldn’t be played better in ‘99 (maybe any year) than this. The pacing, the vocal intonation, the band, the spirit, Max’s cymbal work, the Big Man’s sax… all are spot on. A divine performance.
Of all the regrets I have about missing this show, “The Promise” stands as the biggest. The feeling of seeing the band leave stage and Bruce walking back to Roy’s piano by himself had to be an all-time “Holy Shit” moment for many, and I still wish I could be counted among them. Hearing the performance here made me appreciate it all the more, starting slightly tentative on piano then gaining composure. Bruce sings with a touch of weariness, taking time to let his words land and ultimately restoring one of his greatest compositions to the canon. So very special.
Bruce could do no wrong from that point forward, and he didn’t. Like “For You,” we’re gifted a remarkably timeless “Backstreets,” steeped with Bittan’s expressive piano. Setlist normalcy returns for the end of the set and the encore, delivered with high-gear intensity. “Light of Day” is extra fun, with a quick romp through “California Sun” (made famous by The Rivieras) by way of the memorable guitar riff from Johnny Rivers’ “Secret Agent Man.”
As the last show in LA, 10/23/99 is definitely a “one more song” kind of night. To the delight of every office supply lover in the building, we’re treated to “Blinded By the Light,” in only its second performance since 1976. Though arguably Bruce’s most famous song pre-Born to Run (largely because of the Manfred Mann cover), the song has a spotty performance history even back in the day. Its celebratory, playful appearance seals the night with a fitting E Street kiss goodnight.
By Ben Blackwell of Third Man Records, Archivist for The White Stripes
“I can’t even tell you how much it means for me to be here tonight…so I’m not even gonna bother”
-Jack White, July 31st, 2007
Not long after I walked offstage as the hired-gun drummer for opening act Dan Sartain, an assortment of crew and musicians and friends gathered together and took part in a celebratory, raise-the-glass toast, all led by Jack White to mark the end of the run of nine shows in the previous ten days.
As the crowd thinned, Meg White and I were the last ones left standing there. Apropos of nothing, cups in hand, not even in a conversation at that point, Meg said to me, “I think this is the last White Stripes show.” Confused, I responded “Well, yeah, last show of this leg of the tour.” She replied “No…I think this is the last White Stripes show ever” and slowly walked away.
I was dumbfounded. I had no idea what she was talking about. I had no idea what she meant. I had no idea what to do. I looked around to see if anyone else heard what Meg had said, but I was all alone.
Within minutes, the band was onstage.
What would YOU do if half of your favorite band told you (and ONLY you) it would be their last show immediately prior to taking the stage?
Shocked and having no better ideas, I went and grabbed two pieces of paper. One of them a perfunctory, public-facing schedule posted backstage. The other, more-detailed, sharing much of the same info and privately posted inside the band’s tour bus.
Just typing that makes me self-consciously feel like an ass…more preoccupied with the artifact and ephemera than focusing on the actual feeling of (and living in) the moment. Also, I should’ve at least made the effort to grab a damn camera.
I decamped to my usual side-stage perch and dutifully hand-wrote the scattershot songs that spilled out of Jack and Meg that evening. The White Stripes had never played Mississippi prior to this performance and it’s clear the deep musical heritage of the state loomed large in Jack’s mind as he attacked the performance setlist-free.
“Stop Breaking Down” was an unexpected opening song. Despite being released in 1999, it had only opened a set once before, just three weeks earlier. The inspiration behind that first opening performance was the band headlining the Ottawa Bluesfest, being met with newspaper headlines that asked “Are the White Stripes bluesy enough to headline Bluesfest?” Seems as Jack’s intention of starting both these shows with the Robert Johnson classic was to leave no doubt to a skeptical homegrown audience of armchair connoisseurs or a lazy Canadian newspaper editor that the band was well-within their powers conveying the blues to the masses. All that was only further buoyed by Jack later throwing in an unexpected tease of another Robert Johnson song “Phonograph Blues” to assuredly placate the ghosts of the Mississippi Delta.
Inspired, one-of-a-kind takes on both “As Ugly As I Seem” and “Astro” now jump out to me as beautiful…each song’s last hurrah from the band that birthed them. Exploratory adventures the both of them, proving that no piece was ever finished or finalized or etched into stone. Rather, they were all living, creative works, changing and adapting over the years and begging to be recorded and shared and analyzed by all of you reading this right now.
Jack began the encore by himself, pouring every last drop of feeling and emotive vocal quiver into a solo offering of “300 MPH Torrential Outpour Blues” that was achingly bare. The raw force behind it feels beyond naked…as if Jack had pulled back his own skin to reveal his truest, innermost thoughts, particularly when he changed the lyrics on the fly and sang…
“See there’s three women in my mind that know they have the answer, but they’re not letting go…
What else is new? I’m the only one that seems to care where I should go”
After re-listening to this show for the first time in ages, I feel like only now have I fully absorbed the enormity of that line. Frankly, it just hit me like a freight train to the chest. I was caught entirely off-guard. I couldn’t help but be moved to tears.
Moments like that make me feel this show is the audio manifestation of opposing, equally-powered forces clawing for control of my brain in an id-versus-ego battle of monumental proportions. On one end I’m mourning, absolutely fucking hurt that this huge presence in my life, my occasional reason for being, my family both by blood and by choice…just ceased to be. And yet at the other end, I am so goddamned lucky that the White Stripes ever existed at all…that people even paid attention, that the band was able to make a lucrative career out of their passion, out of art and that I had a side-stage seat to the entirety of their existence.
These are feelings that have never reconciled themselves. I doubt they ever will.
After the completion of a bombastic, career-defining version of “Death Letter”, Jack poignantly says “Son House, thank you for finally letting me come home.” House was a passive participant in this matter, having died in the band’s hometown of Detroit in 1988. But Jack’s comment has seemingly little to do with any physical structure…what he is saying is that Son House (and to a larger extent, blues music in general) provided both he and Meg with an avenue to pursue their artistic vision. In this sense, home is not spoken in the predominant, noun usage of the word to describe where one lives, but rather in a more colloquial, adverbial sense meaning ‘deep, to the heart.’
In short, the blues is home. The blues provides comfort, the blues provides center, the blues provides foundation. It provides a manner to express one’s feelings, both a connection to the past and a path through the future.
Ending the set with Leadbelly’s “Boll Weevil” and the singalong chorus repeating “he’s looking for a home” only further drives this point, well…home. The White Stripes were only able to become THE WHITE STRIPES because of the blues. Able to find their voices, to spread the word in a way that was seeming antithetical to two white kids born in Detroit in the 1970’s. Blues was the language, not chosen, but seemingly divined, to best communicate themselves, to express, to converse, to paint this masterpiece.
In that same way…we are all always looking for a home. For where we belong. Where we can be ourselves. Where we are free to do what we need to do. For a way to be. For a conduit to something bigger.
Upon the completion of the set, with a backdrop of Who-like synth arpeggiations singing out into the night, Jack sincerely says the following…
“I can’t believe how long it has taken us to get here. Thanks for waiting. Thanks for coming. Thanks for buying our records. Thanks for buying a ticket. We love you very much. Thank you. God bless you Son House. God bless you Robert Johnson. Thank you so much.”
I can think of no better epilogue for Jack to punctuate the White Stripes last-ever live performance. Each thought a simple sentence that, upon closer inspection, opens up to a wider meaning…not just spoken to these folks in suburban Memphis on a Tuesday night. Rather, they speak to all their fans across the world. About the journey. About patience. About action. About appreciation. About presence. About gratitude. And ultimately, about the blues. Which is, arguably, all it was ever about.
In the intervening twelve years I’ve had countless conversations with Meg White. And I have never once, not for a moment, even considered asking her what was going through her head that night in Mississippi. To me, she has found her home and that is all that matters.
Our collection of shows from The Allman Brothers Band just got a whole lot sweeter. We’ve added a ton of new shows including performances from 2006, 2008, 2009, and 2014. This era of the Allman Brothers lineup included founding members Gregg Allman, Butch Trucks and Jaimoe along with percussionist Marc Quinones, guitarists Warren Haynes, and bassist Oteil Burbridge.
Most poignantly the lineup featured virtuoso slide guitarists Derek Trucks who is Butch Truck’s nephew. He originally joined with the group when he was a mere teenager. With Derek Trucks’ uncanny ability to reinterperate the late Duane Allman, Gregg Allman’s strong voice and Warren Haynes leading the way, this line up was truly the second coming of one of America’s greatest bands.
The energy of this era was explosive as the band hit a second peak in their career, with purpose, chemistry, and high on studio album releases which featured writing by not only the Allmans but also Oteil, Warren and Derek. Founding members Greg Allman, Butch Trucks and Jaimoe lead the band with their jazz infused classic southern blues. The jaw-dropping solos by Derek Trucks interplay perfectly with Warren Haynes tight rhythm guitar & sharp vocals, while soul-moving bass riffs by Oteil Burbridge create a deep foundation of funk n’ groove.
Like all great live performers in rock history, Bruce Springsteen has been heavily bootlegged on vinyl and CD, and the five live radio broadcasts from the Darkness tour were manna for home tapers and bootleggers alike. Bruce acknowledged as much himself during the July 7, 1978 Roxy broadcast in Los Angeles (the city at the epicenter of the bootleg business) when he declared: “Bootleggers out there in radioland, roll your tapes!”
Those legendary transmissions began to appear on illicit wax the following year, 1979. Live in the Promised Land (Winterland, San Francisco, December 15, 1978) was first, followed by Piece De Resistance, which pressed the Passaic 9/19/78 radio broadcast to six hot sides of vinyl in a box set. Bootleg historians say Piece De Resistance is almost certainly the best-selling Springsteen title of all time, which makes sense given that the show aired in his biggest East Coast markets.
When Live/1975-85 was announced in 1986, many presumed the legendary Passaic broadcast would provide the bulk of the Darkness tour material, but in fact, nothing from the show made the box set. The Roxy and Winterland 12/16/78 proved to be the sources for all 1978 tracks featured on Live/1975-85.
The wait is finally over. Passaic 9/19/78 arrives in its glorious entirety, newly remixed by Jon Altschiler from multi-track, Plangent Processed master tapes. It offers a fresh take on the familiar broadcast version, crackling with energy and putting Bruce and the band so close you might reach out and try to touch the Big Man’s sax. It’s not a first-row seat; it is a first-row seat directly in front of the PA speakers.
Bruce is introduced with an exclamation: “The Boss comes home!” Indeed, this was a homecoming. The three Passaic dates were Springsteen’s first proper concerts in New Jersey since 1976, and the culmination of a NY-NJ Metroplex residency that included a trio of gigs at Madison Square Garden in August (his first-ever headlining the legendary arena) and three shows at the Palladium in the city just prior to Passaic. Following that introduction, it was off to the races.
“Badlands” bursts out of the gate, with more meaty guitars in the mix than we’ve heard before and Max’s drum rolls and trills snapping like someone lit a firecracker strip. Longtime fans will have heard the start of this show hundreds or maybe thousands of times before, but that familiarity coupled with the freshness of the mix makes for a thrilling listening experience. The sense of release “Badlands” delivers has never felt more tangible.
The first set features exemplary versions of core Darkness tracks “Streets of Fire,” “The Promised Land,” “Prove It All Night” with its tension-building instrumental intro, “Racing in the Street,” and the title track. We also get a preview of where Bruce is going next through “Independence Day,” played for only the fourth time in a still-evolving arrangement. The song was recorded for Darkness, and Bruce mentions it should end up on the next album. Another future River track, “Point Blank,” makes a spellbinding appearance in set two.
Along with “Fire” and “Because the Night,” Passaic 9/19/78 features four Springsteen originals that were not released at the time. While we have come to take the live performance history of these songs for granted, Bruce is virtually alone in featuring so much unreleased music in his sets, and the inclusion of songs you can only hear at the shows was part of the magic that defined the live Springsteen legend.
The first set ends with a special and apropos “Meeting Across the River.” It is the live version I’ve heard the most and my all-time favorite performance of the song, sounding moody and marvelous as Bruce spins the tale accompanied by Roy Bittan and Garry Tallent. “Meeting” into “Jungleland” (as they are sequenced on Born to Run) to close the first set is the coup de grâcefor 80 minutes of sheer perfection.
Bruce begins the second set with “one for all the folks in Philadelphia listening in,” “Kitty’s Back.” The resplendent E Street showcase cooks for 13 minutes and has not sounded this crystal clear since Sally left the alley. The same can be said for a stunning “Candy’s Room,” as Steve’s backing vocals soar — you can even pick out Clarence’s baritone voice in the left channel as Bruce sings “what…she…wants…is…me.”
Riches abound as we move through “Because the Night,” “Point Blank,” a long “Not Fade Away” into “She’s the One,” and a sublime, luscious “Backstreets” before the set closes with a pacey “Rosalita.” The encore slows down to mythologize the Shore with “Sandy,” and the moment when Bruce sings, “the boys from the casino dance with their shirts open,” then asks, “is that you out there?” is a charming reminder that Passaic 9/19/78 is indeed one for the locals.
Incredibly, the encore sustains and at times exceeds the energy level of the main set. “Born to Run” is taken at breathless full speed. “Tenth Avenue Freeze-out’ downshifts slightly in tempo, though Bruce remains fully committed to his wide-ranging vocal gymnastics. “Detroit Medley” presents one final opportunity to showcase the band’s chops (tune into the right channel for Stevie Van Zandt’s guitar lick masterclass) in a full-frontal rock ’n’ roll assault.
Because there always has to be one more, a final encore of Eddie Floyd’s soul classic “Raise Your Hand” closes the night, a lyrical reminder that Bruce and the band are there in service of the audience, be they inside the Capitol or listening at home in the markets Springsteen namechecks.
Though he couldn’t have known it at the time, 41 years later, Bruce gives us another chance to experience Passaic in the comfort of our own homes and marvel at the prowess of Bruce Springsteen and the E Street Band playing their hearts out for longtime fans.
Starting today, you can listen to O.A.R. on nugs.net. Hop in and check out guitarist/saxophonist Jerry DePizzo’s curated collections. Jerry’s Picks feature the band’s best live moments from 2009 – 2016. It’s the perfect primer to introduce you to O.A.R. Having produced music and toured for over two decades, Of A Revolution has refined their live performance to perfection. There’s something special about taking your high school band and turning it into worldwide mainstream success; that’s exactly what O.A.R. has done. No matter if you’re a day one fan or if it’s your first time listening, these collections are the perfect O.A.R. experience.
Check out all of Jerry’s Picks + three full live shows from their 2014 tour
Less than a month before the release of his physically and sonically mega box set Live/1975-85, Bruce went completely the opposite direction, stripping down to play his first all-acoustic set since 1972 at what would become Neil Young’s annual Bridge School Benefit Concert.
During a guest DJ session on E Street Radio, Nils Lofgren recounted getting a call from Bruce to join him for the Bridge (Lofgren was also on the bill as a solo artist). Along with Danny Federici, the trio worked up and rehearsed the set in a New York City studio in early October 1986. But as Nils tells it, in an anecdote that conveys deep admiration for the confidence and prowess of his bandleader, on show day at Shoreline, Bruce called a major setlist audible. It wouldn’t be enough to merely play acoustic; Springsteen would go one step further and open the show a capella.
Here was the biggest rock star in the world, last seen 12 months earlier wrapping his staggeringly successful Born in the U.S.A. tour in front of 85,000 fans at the LA Coliseum, taking the stage and singing “You Can Look (But You Better Not Touch)” accompanied only by his snapping fingers. Nils described Bruce’s audacious performance as Elvis-like in its physicality, and grainy bootleg video of the show confirms that. What an entrance.
The Bridge ’86 is a special show. The short but oh-so-sweet set reconnected Springsteen with acoustic performance and can be viewed in hindsight as helping spur a decade or more of solo appearances like the Christic concerts and acoustic recordings like The Ghost of Tom Joad that followed.
The line-up for the inaugural Bridge benefit included Bruce, Nils, Don Henley, Robin Williams (who briefly referenced his famous “Elmer Fudd does Bruce Springsteen” bit during his stand-up set that night), Tom Petty, and host Neil Young (who had his own special guests in Crosby, Stills & Nash). Not unlike the M.U.S.E./No Nukes shows, another benefit where some of these same artists shared a bill, “Broocing” throughout the concert made it clear who most of the audience had come to see.
Following “You Can Look,” Bruce delivers an astounding rebuttal to the jingoistic appropriation that surrounded the title track of his last album. “This is a song about the snake that came around and began to eat its tail,” Bruce says introducing his first public airing of the original solo acoustic arrangement of “Born in the U.S.A.” Any misconstruing of or ambiguity as to the song’s meaning is vanquished over the next five minutes in a spellbinding performance. Until the Bridge, one could only speculate as to what “Born in the U.S.A.” would have sounded like on Nebraska. Now we know.
Nils and Danny then take the stage, and we get an exquisitely rare outing for this E Street Trio. What magic they weave. “Seeds” arrives as a companion to “Born in the U.S.A.” Angry and defiant in 1985, the 1986 model of “Seeds” is instead weary and knowing, sounding like a tune from a bygone era. “Darlington County” is next, preceded by a mini-edition of the story that introduced “Open All Night” in 1984 of Bruce getting pulled over on the turnpike. Nils provides charming harmony vocals throughout the show, none better than what he offers here, as “Darlington” takes its time driving down from New York City.
Strumming and singing brightly, Lofgren shines again on “Mansion on the Hill,” as does Federici. Danny first vamps a little “Lady of Spain,” as Bruce gets his guitar ready, then adds rich accordion swells that paint the song an emotionally tinged hue.
“Fire” will be familiar to those who own Video Anthology on VHS or DVD, where the Bridge version was showcased. Before it starts, Danny is again tapped to fill time due to minor technical difficulties, and he drops a dose of Duke Ellington’s “Satin Doll.” Uncannily, Federici used the song in much the same manner in the earliest E Street days circa 1973-74. Though “Fire” is rightly remembered as a Clarence Clemons showcase, the acoustic version, carried by Bruce’s deep vocal, is pure delight, peaking when Lofgren and Springsteen raise their voices way up to sing, “your words they liiiiiie.”
“Dancing in the Dark” rides a particularly passionate lead vocal along with some fine accordion work from Federici in the final third that pushes the Shoreline audience towards rapture. “Glory Days” always had a bit of a campfire singalong vibe underneath it, and that comes through in this charming take that has the swooning audience joining in.
Serving as something of an encore, “Follow That Dream” lends poignancy to the evening as Springsteen dedicates the song to Neil and Pegi Young. In its River tour incarnation (as heard on the London ’81 archive release) “Follow That Dream” is stark and solemn. In 1986, it transforms into an uplifting song of hope, performed less as a mediation and more as an instruction.
For the final song of the set, “Hungry Heart,” the trio is expanded with backing vocals and guitar from special guests David Crosby, Graham Nash, Stephen Stills, and Young, putting a spirited ending on just under an hour of acoustic enchantment.
Bridge School ’86 is a significant moment in the rebirth Springsteen as an acoustic artist. Since that show, Bruce has done two fully acoustic tours and a Broadway run that carried on in the spirit of ’86. Perhaps someday, Bridge School ’86 could still inspire an E Street Trio tour as well.
Ahead of their upcoming tour, TAUK just released their much sought-after TAUKing Beatles set from Resonance Festival 2018. The performance was unlike any Beatles cover set you’ve seen before. It’s a magical show filled with fun jams and a fantastic song selection. We talked to the band about the show, check out the interview before queueing up the show on nugs.net
What was the most challenging part of performing an all Beatles setlist?
Anything TAUK does we want it to be unique and special to who we are as a band. The Beatles’ catalog has such a wide variety of styles and musical approaches it was a little tricky to find songs that we could meld into our own TAUK sound because there’s so much to choose from. Also, the Beatles are well known for their lyrics which presents a challenge as an instrumental band. We decided on songs with strong recognizable melodies so the crowd could sing-a-long and be an active part of the set. However, we found less popular songs like, “Taxman” which allowed us to improvise and keep the audience guessing.
These jams go deep, the listener can immediately tell how vast the improvisation goes on this set. How did you balance maintaining Tauk’s sound with Beatles songs?
That’s easy. We just do what we do and make sure we listen to the songs and each other.
What three words can you use to describe this set?
Epically-Gnar-Awesomesauce
Which band member does the best British accent?
Charlie does the best Ringo. Please find him and ask him to do it!
