Dr. Zoom

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About Dr. Zoom

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    Member
  • 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. LC on pump organ. Yep, that would work very well, I think.
  2. 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.
  3. 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.
  4. 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.
  5. 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.
  6. 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 vocals by Bruce, and although I preferred the live versions with Sad Eyes, I think I preferred them because of the Sad Eyes interlude and not necessarily the performance of the song. Jungleland: studio.
  7. 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".
  8. Neither, but it's fun, unexpected and refreshing. Comes across as something truly unrehearsed and spontaneous.
  9. 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 stage, THE bandleader, commanding an audience that had never seen him before. Awe-inspiring. And I've always thought that by 1988, Bruce and the band were on the same level as Prince was in concert - 1988 also being the year Prince toured behind the Lovesexy album.
  10. Ditto. Didn't know he was gone from the board until just now, a real shame that he is.
  11. Impossible to pick one: Incident, 29.12.80 Streets of Fire studio Because The Night, 19.12.78 Roulette None But The Brave, bootleg outtake, not the official Backstreets I also have a soft spot for the Cover Me studio version, possibly the last solo/solos where he sounded like "old" Bruce.
  12. @BosstralianBackstreets had a piece on the cover back in the day, and the cover makes so much more sense when you know the thought processes behind it. Far from a BITUSA-era reimagining, really, and I like the cover more when I know the background story. It was properly made cover.
  13. As I see it, LINYC the album was "just" the soundtrack to LINYC the music film, and the film format dictated the album. LINYC was never concieved as a live album, just like Live 1975-85 was never intended to be a concert substitute. If LINUC was successful or not, is up to the listener, as always. It's certainly flawed in many ways.
  14. Don't like this version very much, but: it does give me som pleasant flashbacks to milling around the stadium grounds flooded by lights just after the show, the stage being disassembled, people in yellow vests sweeping crushed plastic beer cups, masses of people streaming for the exits and fans just standing around discussing. Ahhh, good times, come again for sure.