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

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  1. I've found this to be (rather shockingly) true, many people think of Bruce as Americana or country. And that's not because of Western Stars, and it's usually used more or less negatively. It's something that actually annoys me, although it shouldn't because it doesn't matter at all. But it does. Yes, Bruce has country influences, but how can anyone concievably hear WIESS as a country or even countryish record? BITUSA a country song? Et cetera ad nauseam. I often hear that Metallica - now, that's rock. Yes, it is, but it's also (thrash) metal.
  2. Nope. A lot of the summer Euro shows were outdoors, and quite a few were held at a stadium (Stockholm, Copenhagen, Oslo to name 3).
  3. Don't know if he was afraid to oversaturate, I mean...the 12" remixes? but I see your point. Even though TR was his biggest selling record before BITUSA, I think BITUSA was mostly thought of as a single album, it would most likely be easier for it to becone a hit recird - a bigger hit record at least - than another double. I'm guessing there were people at CBS who may have been thinking along the same lines, too.
  4. Should have written "new-wavey", perhaps...the intent was to describe put a label on some of the more non-rock and non-punk influences; like Suicide, for example (maybe not new wave, but nok entirely punk either). Elvis Costello was labeled New Wave, I think, but so was Duran Duran, so...NW is a very vague and somewhat misleading label, like you say.
  5. In my opinion, a few outtakes from TR are some of the strongest songs of Bruce's career; Roulette at the top, Where The Bands Are, Take 'em As They Come, Stray Bullet, Loose Ends. Many of the BITUSA outtakes I know of, are even better and more more consistently varied (more pop) than The River outtakes. I have a feeling that this has something to do with a change in Bruce's songwriting and him exploring other styles more (disco, New Wave) in the time after The River. The title track is a good example of this, since it really is quite different from anything else Bruce had done up until then, I'd say more of a departure than DITD ever was.
  6. I'll leave it to @J to comment on the London 2002 show (if he has any opinion of it, that is). First, there was the Stockholm show of the Euro barnstorming tour. Impossible tickets, but I still managed to get one (a friend told me that tickets were going for about twice face value outside Globen even well after the show had started). Got nosebleed seats, but it didn't matter, really, since we got Jackson Cage and The Fuse (to name 2 highlights). And a great, great Badlands with the audience genuflecting in front of Clarence and which evolved into Gloria. Saw 3 shows in 2003, in Oslo and Gothenburg. This was my first visit to Nya Ullevi, and Bruce's first shows there since 1985, so expectations were high. Also, it was the Midsommar weekend in Sweden, great weather...Nils' birthday...and a fantastic crowd. We slept outside the stadium, and it is still my favourite venue and city to see Bruce in. Those days in Gothenburg in June 2003 were magical, it us still my most treasured concert experience. It was also where I heard my first Racing (with Danny and Clarence). The Oslo show is somewhat underrated, I feel it was better than the first Ullevi show, plus it featured Sherry Darling and Where The Bands are.
  7. Best reinvention from a tour full of great reinventions.
  8. Yeah, if I'd say that to a non-fan or even casual fan, I'd get weird looks. Come to thhink of it, I've probably said something to that effect at some point at the height of my fandom in the late 80's. And gotten weird looks. Think you're right about most every song from Passaic is superior, but what's your take on Tenth from this show? It has a different bass drum beat at the start, that I've not heard on any other recording.
  9. The Tufnel approach would spare you of explaining anything, "but this one goes to 11". Everyone would understand.
  10. Yeah, it's purely the vocals on LA 85 that makes it my favourite, and it's the little nuances; for example that nano-second pause between "..make it" and "...good somehow" just...I don't know, it just makes a big difference (to me, at least). The Passaic version for some reason is superior to other Thunder Roads from '78, though.
  11. Re: Passaic you could just do a Nigel Tufnel and state that this one (Passaic) goes to 11
  12. Sorry, Spirit In The Night corrected the original post.