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Dr. Zoom

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About Dr. Zoom

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  • Birthday 05/04/1973

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  • Location
    Nesna, Norway
  • Gender
  • Springsteen fan since?
    May 1985
  • Does Mary's dress wave or sway?
  • Interests
    Music, coffee, karate, literature, angling

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  1. Agree, think it was the first of the preachy / preacher-y long mid-setlist songs, quite different from Glory Days or Growin' Up from BITUSA and earlier, but these were stories. . Also, it was possibly the best, WOAD being the nadir.
  2. Sorry, wasn't clear enough. I meant Darkness, the album. The song was most likely more known. BITUSA was incorporated well and was essential to the set, and even though he didn't HAVE to play it because it was possibly his most well-known song, I think it was one of those songs that almost HAD to be in the set, too, at that point. If it hadn't been included, I think it wouldn't have been as good a first set; it was an awesome closing song until Chimes was introduced.
  3. Yes, he could, absolutely. And he did, with WLAM and Backstreets, and dropping Darkness in a few times. I do think that Bruce in some way wanted really bad to steer clear of his most known songs, and to some extent older songs (Roulette would have to be considered new at the time). The whole ting was a real shake-up. Other than Tunnel, there was no "hit" song until aboit halfway into the 1st set, and I would bet that for a rather large part of the audience, Adam was known more from Live than Darkness. There were a few songs he really couldn't exclude at that point (BITUSA, Dancing, Hungry
  4. Agree with most of this, but Adam with the horns was no low point. The spindly sound of Roy's piano was, though, but I actually don't feel the sets needed any more variation. Yes, I can easily see that attending multiple shows that were almost entirely identical would be disappointing, but somehow I - to some extent and particularly on this tour - actually prefer hearing songs that have been played regularly to audibles. I really got this when Bruce played Boom Boom in Bergen in 2009. Fun, yes, but compared to the ultra-tight version from Europe 1988...vast difference. The ESB were at their pe
  5. Well put. The protagonist of Loose Change could also be an older version of the guy in Lucky Man. The guy in LM would have driven out of town when the light turned green, but by LC he's burned out and is just unable to move on for whatever reason.
  6. The live versions are often magnificent, and in later years have these great, long outros. As Bosstralian once said, the ultimate live version is most likely from an '81 show. However, no live version touches the released studio version. There's a certain vibe or feeling on some of the Darkness songs that is unmatched on all other versions. On Racing there's the lone piano before the outro starts, with the organ. And the piano is played so gently, there's a tiny space between some of the notes, where you can hear the tape hiss, that evokes - in me at least - a feeling of loneliness and re
  7. Thunder Road - LA 30.9.85. Then the 2016 show closing versions, they were magic in the night. Tenth - Hammersmith 75, it needs to be played at breakneck speed. Then the Live 75-85 version; "the Miami Horns, ladies and gentlemen!". Night - Nassau 80 Backstreets - Hammersmith 75 or Tempe 80. Born To Run - Live 75-85. She's Ghe One - 1988 w/ Ain't Got You intro. MSG Archive, for instance. The Bo Diddely beat is soooo precise. Meeting - any version is fine. Jungleland - any 78 version, I guess.
  8. Yes, absolutely, even and especially the way it's sung; that tiny pause he makes ("...to make it -tiny pause - good somehow..."), for example, every little detail falls exactly and perfectly into place. Same with Born To Run, really. When Bruce & band explode into that last verse, and you imagine that this is played with full-on flood lights in a chock full stadium, with every audience member shouting the lyrics back at Bruce... shit, I need to go to a show soon, I reckon.
  9. I'm mostly a live BTR fan. I always felt that both Born To Run and Thunder Road reached their full potential in 1985 (no doubt thanks to the BTR and Thunder Road clips from Glory Days). They were - and are - big songs, and everything about their performances in '85 fit so well, most of all Bruce's voice. I like both studio versions, but to me they weren't released in their definitive versions, they grew into them during the BITUSA tour; much like Frankie, which finally found its perfect form in Gothenburg 2012. Backstreets, on the other hand, is to my ears perfect on the album. Great voca
  10. Neil Young is the antithesis of just about every "technical" player out there. My personal favourite description of guitar playing, is from a review in Musician magazine of the playing on Change Your Mind from the excellent Sleeps With Angels album: "you can hear Young's sideburns growing as he considers moving a finger".
  11. Neither, but it's fun, unexpected and refreshing. Comes across as something truly unrehearsed and spontaneous.
  12. I watched a Prince show from the Lovesexy tour back-to-back with Largo '78. Maybe unfair to compare those two shows/eras, but still... the Prince show was absolutely amazing, so tight, truly an event. Better than Largo? Yes, and no. Prince and the band were musically miles better than Bruce and the boys, but Bruce was untouchable when it came to the execution of the show, incorporating the audience, the story telling. On a side note, I watched the final night of the Amnesty tour the other night. Twist and Shout. I'd forgotten how good that was, Bruce was really in total command by that st
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