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Dr. Zoom

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About Dr. Zoom

  • Birthday 05/04/1973

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

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Dr. Zoom's Achievements

  1. I like Jackson Cage, has a lot to do with it being unexpected. Not the BEST, that might be...probably The River. Or I'm Goin' Back - unreleased but still studio!
  2. Yes, I know BJ had become the replacement for Bus Stop by Oslo, but still...I dunno, maybe in retrospect, I'd have preferred BJ AND Bus Stop, with BJ instead of The Wish. The Wish was super cool at the time, because it was only the 4th time it was played, but...BJ really is the superior song.
  3. Yes and no. It depends on the rarity; if the rarity's not well played well, I'd sort of prefer some of the songs you mention (but not Darlington...). If the rarity is Frankie, and it's played like in Gothenburg in 2012, well...I'd take Frankie over most other songs. Or Roulette, which seems to be played well any time it's pulled out. Or Drive All Night. Or... The "problem" with BJ at the Joad show, was that at that stage, Bus Stop was a standard in the set, so not a rarity (like The Wish was at the show I attended in Oslo). It was annoying that BJ replaced a standard song - and to my ears, a better one. I'm sure many disagree with me.
  4. Bobby Jean. I got it at every. Single. Fucking. Show for my first 12 shows, including the Joad show (I mean, ditch Bus Stop for BJ?!). A close number two: Darlington County. Which probably is at the number 1 spot these days. I've grown to enjoy BJ now though, I'd rather BJ be played than Darlington. Oh yeah.
  5. 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.
  6. 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.
  7. 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 Heart), and dropping Thunder Road altogether I think was viewed as quite daring/sacreligious. There were a few touchstones, but really not that many. I think what we gained from the setlists being so static, was a generally better performance of the songs. Maybe not what one would focus on seeing two identical back-to-back shows, and the performances themselves were quite heavily rehearsed, I'd say more so than on any other tour.
  8. 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 peak as musicians in 1988 and really have never been better since. Songs like the two you mentioned...I don't think they would have fit at all, not in the ToL Express context. But, I could be wrong, maybe I'd have felt the same with Backstreets, if it hadn't been played? Then again, there's a difference between I'm Goin' Down and Backstreets, and I'm not talking about one song having sax and the other not... It was probably the most uncomfortable tour in many ways, maybe especially outdoors in Europe, audiences still in a BITUSA-light frenzy.
  9. 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.
  10. 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 resignation. But then the organ and the rimshots (?) come in, and then the bass and it lifts the song somewhat out of any loneliness it becomes brighter. The difference between this and the live versions being that the live versions are more powerful and vivid, which suits them fine. There's something similar going on with Darkness (the song), too, I think it has to do, in part, with there being space or room in the music, but without the songs losing any power.
  11. 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.
  12. 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.
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