Spanish Juannie

Thanks for this, great reading Quote from the above ''Landau's memo lays out a plan to distribute copies of the Agora broadcast recording to stations in upcoming tour markets to air a few days before Springsteen and the band hit town, priming the pump for the performances and undoubtedly ensuring those shows were sellouts by the time they arrived. "The one exception to the use of a prerecorded tape would be our show at Winterland," he writes, where the San Francisco show would air live on local FM station KSAN as well as key markets in the Northwest.'' Compare this to what Toby Scott says about Agora Release notes from Toby Scott: I found the seven Agora tape reels in a box that had been returned from the Rock'n Roll Hall Of Fame. The tapes were part of an exclusive Springsteen exhibit “Asbury Park to the Promised Land”. It wasn’t until the request to release this show came up that the tapes needed to be found. Not at Sony, not at Thrill Hill Archives, not at the archiving company. Last known location was the Rock'n Roll Hall of Fame. They informed me what box to look in and there they were, marked with the original indication of speed, tracks and show date. I am aware that the tapes sent out to stations in Nov/Dec 1978 may not have been high quality reel to reel tapes but it seems to illustrate the lack of care in the archive when one of Bruce's most famous shows took time to be located. Let's hope 4 Nov 1976 and 20 Aug 1981 have survived despite this.

I finally saw this last night in a small theatre and enjoyed it very much. I have really enjoyed ethnic British movies in the past such as 'East is East' and 'Bend it like Beckham' and despite the nasty xenophobic scenes this was funny and uplifting.Matt's father played by Rob Brydon is hilarious as a Roger Daltrey lookalike and Eliza's father Marcus Brigstocke acts like a John Cleese character. The scenes where they suddenly burst into a song and dancing routine or recite lyrics may seem a little corny but they are appropriate to defuse situations which would otherwise descend into violence. The use of the Jungleland sax solo in one scene is particularly effective. Any factual mistakes in the film are by the way and did not affect my enjoyment. The fact that Javed got into Bruce by listening to the albums, rather than hearing a couple of hits on the radio rang true to me. I would probably not have been into Bruce after merely hearing 'Dancing in the dark' or 'I'm on fire' on the radio. Instead I bought the albums, went to see the 1985 show and started collecting the live stuff.The non-Bruce music in the film is very effective too.I am on the look out for the book now.

I have this show on a fan release but it doesn't include the last song by Bon Jovi.

That would be approximately 37.7749° N then.

It's from Joe's Place, Cambridge MA on 6 Jan 1974. This is from the 2nd set which is available in good sbd quality except the musical intro to Blinded by the light. The first set is available on a below average audience tape. Bruce Base 1974-01-06 - JOE'S PLACE, CAMBRIDGE, MA Soundcheck: DOES THIS BUS STOP AT 82ND STREET? / DOES THIS BUS STOP AT 82ND STREET? NEW YORK CITY SERENADE / SPIRIT IN THE NIGHT / DOES THIS BUS STOP AT 82ND STREET? / WALKING THE DOG / IT'S HARD TO BE A SAINT IN THE CITY / KITTY'S BACK / THUNDERCRACK //// YOU MEAN SO MUCH TO ME / GROWIN' UP / LET THE FOUR WINDS BLOW / ZERO AND BLIND TERRY / BLINDED BY THE LIGHT / FOR YOU / ROSALITA (COME OUT TONIGHT) / TWIST AND SHOUT One show, double bill, with Springsteen and band headlining and Peter Johnson & The Manic Depressives (Joe's unofficial house band) opening. The listed 15-song setlist represents Bruce's complete show. Springsteen's show consisted of two hour-long sets separated by an intermission after "Thundercrack". "For You" is the solo piano version. This is not, as stated, the live debut of "Rosalita (Come Out Tonight)", the song was performed during 1973 and two live recordings from early 1973 are in circulation. However, the song does feature a couple verses of "Shotgun" in the midsection. A claim that one, some, or all three of the Joe's Place shows were filmed first surfaced in the 1992, second edition Charles Cross/Backstreets book Springsteen: The Man & His Music. That book implied the filming had something to do with a Charity Telethon. Evidence has now emerged (printed in The Real Paper on January 16, 1974) that only one song was recorded on the afternoon of Sunday, January 6, for the benefit of Muscular Dystrophy. This was likely a local fund-raiser, rather than a national telethon. Two takes of "Does This Bus Stop At 82nd Street?" were recorded, without an audience. This was filmed with the intention of showing it on local TV in March, perhaps on a benefit show, but it is unclear whether this ever happened. Storyteller 06.01.74 Boston, MA, intro to “Let the Four Winds Blow” “This is a song from when you used to be able to walk up to a girl and say…I like the way you walk, I like the way you talk…”

Transcript of the interview that was broadcast mid concert on 15 Dec1978 (actually recorded at Tucson AZ 13 Dec1978. This only seems to be available on the early bootleg LPs. Interview with unknown DJ from KSAN DJ: Talk about success Bruce: People say when you’re successful or what’s successful, you know, and like for me, I was successful when, I avoided having, you know, a 9 to 5 job. To me, that was success, you know, I was like going out and playing at night. I wasn’t making a lot of dough, you know, there’s clubs, the bars and stuff but I felt, you know, I felt, less compared to everybody around, I felt real. I wasn’t attached to a lot of things. You know, my folks moved out to California, when I was 18 or 19 so, I just got, you know, I didn’t have any responsibilities really except to myself, you know, and, and uh, the guys in my band. So, it was just, it was just like an easy life and an, an emotional outlet, you know, that uh, kept the cap, cap on, you know, and uh, so, I was always, I wasn’t, I wasn’t satisfied but I was, I was, you know, I was like uh, I felt good about what I was doing, you know, I mean, went out to California when I was, I was 18, and uh, drove out there. Through a lot of stuff, you know, a lot of stuff that most of the people where I was, you know, from, like in Asbury Park, when we were gonna make a record, forget it, you know, I didn’t know anybody who ever made a record, you know, nobody ever made a record, nobody had ever, uh, done anything too much, you know, and so, it was like a whole other world, you know, it was like, I didn’t, I don’t think I ever knew anybody who ever like … went to Pennsylvania (chuckles), it was like, everybody stayed, it was real, everybody stayed close. So, when we were going out there, like we traveled in uh, in this old Chevy truck with all the equipment in the back and stuff, you know, $100 each and we just went out there and we went to California and we played at uh, matter of fact, we played at the Fillmore on audition night, on Tuesday, remember they use to have a Tuesday audition nights? Well, we came out and we played … 2 Tuesdays and I remember because we opened up the show and I remember Nils Lofgren played that night. I could see he was auditioning too. He was great. He had a great band. That was when he had Grin, you know, they were, er really good. And uh, we bound around. Then we played a place called The Matrix … DJ: Hmm mmm Bruce: … which uh, we used to uh, open for, open for Boz Scaggs when his first album came out, the one on Atlantic, we used to open for him and we used to open for uh, like Elvin Bishop, you know, Charlie Musselwhite. We worked there. That was great. The Matrix was great for us ‘cause it gave us jobs. We couldn’t get jobs anyplace else really, you know. So, that was, I think 1970. When we, first time we went up to Seattle and Portland and there, it’s like, when you fly in there, it looks like the wilderness or something (chuckles), you know, it’s funny, it’s, it’s, it’s real, it’s nice, but it’s and then like last time we were up there, it was uh, it was great, you know, we had like _ people, the people and stuff were, they just really fantastic for us, you know, really fantastic. Now, and the funny thing about being up there is I’d never been up there long enough to take a look around. Like that was always been a place for some reason that we’d gone in and you know, 2days-2 shows or 3 days-2 shows, you know, so I really hadn’t had a chance to, I like to do, I like to stop a day and walk around town or something, you know … (?) … We made it back somehow. Had to borrow money to get back but, it was a big deal. It was a big adventure, you know. I came back. ‘Hey!’ I came back to New Jersey. Hey, we’ve been to California. Matter of fact, we used to advertise that on, on the shows, when we came back … DJ: Direct from California? Bruce: … Yeah, back from California. First, you know, big deal, you know (chuckles), it was like uh, it was uh, that was a big, that was the thing in those days, if you went out and you came back and we had a review, this fellow, Phillip Ellwood, in uh, … DJ: Yeah (?) Bruce: … you know, doing a review way back when I was 20 years old and we brought that back and they printed it in the hometown paper (chuckles) and everything. It was, you know it was great. You know, people are always struggling, struggling, struggling. I guess, I guess I sorta was, I felt, to me, I felt more of a struggle after I was … notorious (chuckles), you know, I mean, you know what I mean, sorta after uh, uh, after the magazines and stuff, you know. Then, I felt, I felt the struggle then. Before, I didn’t feel no struggles (Bruce holds back a cough) … I thought I was living, living it up. And it’s like, if you’re gonna make more than $500 a night, you’re gonna have more than $500 problems, you know (chuckles), it’s like that’s all there is to it. DJ: How do you deal with the difference between performing live and making records? Bruce: The thing about the records is that the problem is you get mixed up in style and stuff, you get mixed up in style (?) stylization … DJ: _(one word)? Bruce: … Yeah, I do ‘em, you know, it’s like you get mixed up with uh, sometimes, making a sound or something, you know, which, in a lot of my stuff, and you relax a little bit and you look at it, no, what about this and that, this note, you do all that kind of stuff. My stuff just, I guess is generally better, when uh, you don’t do that stuff with it sorta, you know, uh, at least live it, it’s not, it’s not music to be, to relax with. It’s not about relaxing, you know. None of the songs are, relaxing I guess, and uh, you know, it’s like, ‘cause on stage and every muscle in my body is tight for 3 hours (chuckles), you know, I feel like I got a stick up my back, you know, it’s like uh, it’s about … that kind of tension or something. What’s it feel when you’re real scared, how you tense up or how you, you know, or when you’re ready or something, I don’t know, it’s hard to explain but that’s, like that’s the difference and that’s the way, like we approach it on stage, you know, and I just blast it out, you know, as hard as I can (chuckles). DJ: Do you have any, get any thought to doing an actual live album? Bruce: Yeah, we’re gonna do one, gonna do one after this next studio album, I think DJ: Are we gonna have to wait another 2 years and 9 months for (?) ? Bruce: Naw, I’m, I’m not gonna take that long anymore, you know. That was, like, a real, circumstantial thing, you know. Both those albums had very long periods of time in between them, you know. This time, you know, I’m gonna try and record a lot faster. I wanna write all the songs first and then, you know, go in and just record them, you know, as best as I can DJ: When you do you have the time to write? Bruce: You know, and uh, writing is funny, it’s like, you just get an idea and you do it, you know. The hard part is finishing and stuff , you know, you gotta finish it, it’s like homework, and you know you gotta, you know you got two lines, you need a third one, and I just try to write stuff that, that I can stand to sing, you know, it’s like, you know, stuff that don’t sound silly, you know, it’s hard to do (chuckles). It’s, that’s the hardest part for me. That’s the part I, that’s the part that I enjoy the least and is the most rewarding in the end, you know, you really gotta, ‘cause you gotta check it out, you know, when I, like when you write, when you create stuff for songs, that’s the measure, that’s really you’re measuring yourself, you crank, you know, you pull your hair out, you know, you smash head into the wall, until, until uh, until it’s done, it’s finished, you know, it’s exhausting. I guess, if, if it motivates, it’s the best, that’s the best, you know, like when a kid comes up to me and says, ‘Hey, this song, did this for me,’ you know, or, you know, if it changes people’s minds, or anything like that, if you any effect whatsoever, it’s, it’s a miraculous thing (chuckles). I just try to, I dunno, I guess when I sit down, you try to write, I guess about what, you know, just what you see and what you’re going through and what you see around you, you know. What I seen around me, I don’t see like, the whole rock ‘n’ roll thing is just totally, it’s unrealistic, it’s, I don’t mean the rock ‘n’ roll thing, I mean, like the accoutrements. You know the rock’n’ roll spirit is forever, that’s like forever on the street, you know, I think, you know. The other stuff? That’s up in like, you know, the suite at the Hilton (chuckles), you know, it’s like that’s uh, like the whole star system or something. Got hooked up with like a Hollywood star system, you know, um, in a, in a, in a bad kind of way, you know what I mean, like the limos, and uh, and all that stuff, you know, is, is, just, um, I guess some people can do it and some people can’t, you know, it’s like uh, Elvis always could do it great, Jerry Lee, (?), all those guys, they had the great flamboyance, you know, the great, the wild outrageousness (chuckles), you know. I dunno, I always get, it’s one of the things I spent a lot of time thinking about I guess when, when it, when I started to have these particular, people started to offer me these particular things, you know. You know, hey, let’s get a car, let’s get this or let’s get that, or uh, I’ve always been suspicious of it for some reason. I guess afraid that, you know, it’s like, I see, you see too many get blown away by that kind of stuff I think, you know. I don’t know what happens to you. You go down the drain. You know Elvis was the ultimate example, you know, it was a real heartbreaker, you know. DJ: To me, one of the most amazing things is that you’ve put so much energy into your show and … the people who are listening to us have heard the first half of your show and you’re gonna come back, you’re gonna triple and quadruple the amount of energy and that doesn’t even include the encores. Where do you come up with the physical energy to do this? Bruce: I am gonna, there’s another part of the show? (chuckles) DJ: There’s more to come … Bruce: (chuckles) DJ: … Yeah, that’s what we’ve been telling them … Bruce: Oh … DJ: … That’s why they’re willing to listen to us talk … Bruce: … Uh-oh, Clarence! (chuckles) Transcribed by Roulette909

The snippet is commonly called 'The moon was yellow' but I have a cassette with a song titled 'Stagger Lee' by Lloyd Price. The song begins with the moon was yellow lines and then turns into an uptempo number.Ironically I bought it because it had 'Quarter to three' by Gary US Bonds on it and i was unaware of this other connection.

Well it's more like a spoken intro after the music starts and then the song proper starts. If you find the Portland OR 25 Oct 1980 (The Mountain Show) show it is sung beautifully by Clarence in the intro to Rosalita' 25.10.80 Portland, OR, intro to ´Rosalita´ ´´Hey Big Man….should I play this next one, I don´t know if I should play this next one….oh, this song, this next song….this is so sad this next song….I don´t think I can play it, I don´t think I can get through it without crying….have you known the sorrow of unrequited love ? (not much response from the crowd)…I don´t think nobody knows it (chuckles) you know it ? (chuckles) alright….well, then you know what this song is about….it was a long time ago….I was a lot younger…it was a night….just like tonight…except it was raining (chuckles) and it was a lot warmer….and it was across the country….in this little town ….the camera moves in ….there she is, there he is….Big Man, set the scene….(Clarence sings : ´The night was black and the moon was yellow…the moon was yellow…and the leaves came tumbling….´)….

From Bruce Base story teller with a couple of additions by myself; Story 1979-01-01 Cleveland, OH 01.01.79 Cleveland, OH, intro to ´Rendezvous´ ´´So everybody survived New Year´s Eve or what ? (cheers) everyone in one piece tonight, alright….this is a song….that, uh….I think was just recorded by Greg Kihn, uh, it´s a song I wrote about two or three years ago, it´s called ´Rendezvous´…this is for Joyce….” 01.01.79 Cleveland, OH, intro to ´Spirit in the Night´ ´´This is for Southside…..´cause the night was dark, the moon was yellow….and the leaves came tumbling down….” 01.01.79 Cleveland, OH, intro to ´Darkness on the Edge of Town´ ´´This is for, uh….I don´t know if he´s listening, if he´s out here or not….this is for John, who was, uh….who got me on (?) show that I was in and I….I just wanna let you know that appreciate it and I (?), this is ´Darkness on the Edge of Town´….” 01.01.79 Cleveland, OH, intro to ´Factory´ ´´Here´s a couple songs for….anybody that ever had a broken heart….” 01.01.79 Cleveland, OH, intro to ´Heartbreak Hotel´ ´´This is a song written in….1955 by….by a woman called Mae Axton….she was Hoyt Axton´s mother….I wish my mother´d wrote this song (chuckles)….gimme some echo, Bobby ….” 01.01.79 Cleveland, OH, intro to ´Racing in the Street´ ´´This is, this is the last night of our tour tonight….and…..this is uh….we´ve been out since May 23rd, this is the 122nd show (chuckles)….I´m gonna take you one last time racing in the street….do this one last ride….this is for all the Cleveland nightriders….and their girlfriends” 01.01.79 Cleveland, OH, intro to ´Thunder Road´ ´´This is for Matty and for Eddie and Tony….” 01.01.79 Cleveland, OH, intro to ´Meeting Across the River´ ´´This is a song, we don´t do this too much and this is for Kid Leo….I wanna thank for all the….just for all the help he´s (?) you know it´s great, we can come into a town and get somebody or a station that, that just supports us the way that Leo and (?)….this is for the Kid….” 01.01.79 Cleveland, OH, intro to ´For You´ ´´Alright….I….here´s, uh, like I said this is the last night of our tour and like, like, in, uh, there´s people here tonight that I´ve seen like in 10, 15, 20 different cities, you know, all along the way….and I know some of you guys save up your dough and go places where we´re playing and stuff and I wanna say thanks a lot and this is for you and this is for Rod, alright….” 01.01.79 Cleveland, OH, intro to ´It´s Hard to Be a Saint in the City´ ´´Thanks….and this is for Jimmy and Bob….” 01.01.79 Cleveland, OH, intro to ´Santa Claus Is Coming to Town´ ´´I remember it was….it was about 19…65, I think it was….it was the night before Christmas ….and all through the house…not a creature was stirring….´cause I remember that was the night….that my girlfriend threw me out…I mean, Christmas Eve….gotta be pretty hard….so I played the Phil Spector Christmas Album 50 times in a row…. anyway, I go down to the beach….whenever I used to get thrown out of my house….I used to go down to the beach…. this was tough in the wintertime ´cause I remember it was…. it was Christmas Eve, it was snowing….the wind was blowing, it was raining…I go down there….I go down, I went down to this club I used to go to….it was all closed up ….said ´Home for Christmas´….I said ´Oh boy, home for Christmas….some Christmas this is gonna be´….so I went down, I went to get under the jetty to get out of the snow ….and who was sitting there….but Miami Steve….with his guitar….I said ´Hey!´ (Steve: ´Hey!´) What are you doing? (Steve : ´How you been ?´) ´ I don´t know´(Steve: ´What are you doing here?´) ´My girlfriend threw me out´ (Steve: ´Yours too?´) ´Yeah´, his girlfriend threw him out too….so we´re sitting there and we´re like, we´re in this terrible mood and we´re going ´This Christmas stuff, like, this, this is just a bunch of bullshit, I, I don´t go for that Santa Claus stuff, that´s, that´s lies´…´That´s for kids….. that´s, that´s a joke´….´Santa Claus, he´s dead, he fell out of his sleigh over Newark´…. ´He got mugged when he hit the ground´….so we´re sitting there for a while….and all of a sudden, we just about fell sleep….and we heard this noise that woke us up (Max slams the drum)….and we looked way down the boardwalk….way down the boardwalk….way down the boardwalk ….we said ´Wooooh´…..(music starts) Hey Steve!…” 01.01.79 Cleveland, OH, intro to ´I Fought the Law´ ´´Uh, this is for Mike….this is a request (chuckles) haven´t played this in a while, I hope we remember it, this is a song by the Bobby Fueller Four, ´Well, I Fought the Law´….” 01.01.79 Cleveland, OH, intro to ´Backstreets´ ´´Come back, baby, come back…..come back, little girl, my arms, they cry for you…..come back, baby, come back…..´cause I think my heart, it dies for you…..and the teardrops fall…. and I hear your footsteps running down, running down, running down my hall….and I promise I will never ever make you blue….(?)….and I would never ever make you blue….. and I would never make you cry, girl…..just come back, baby….(?)….” 01.01.79 Cleveland, OH, after false start to ´Born to run´ ´´I started playing the wrong song!….” 01.01.79 Cleveland, OH, intro to ´Detroit Medley´ ´´I wanna thank everybody for coming down tonight, thank you very much…..thank you, all you guys, I know a lot of you guys stand out in line and stuff waiting for tickets for a long time and I wanna let you know we appreciate it….and I´d like to thank (chuckles) I´d like to thank all the guys that, like I´ve been on the road, on the road for about six months and I´ve been traveling around with about 25 other guys, I´ve got the best guys in the world….and they set up all this stuff for you and they tear it down…..and uh….they´re here early in the morning before I get here and they´re here late after I go home so I wanna thank ´em all very much….this is for you guys….” Compiled by : Johanna Pirttijärvi

Apart from the radio broadcasts, the remaining shows that circulate as near full or partial soundboards are Portland OR 24 June Berkeley CA 1 July (approx half the show) probably multi track exists Charleston WV 4 Aug Louisville KY 5 Aug (end of show missing) Landover MD 15 Aug (video soundtrack) Philadelphia 19 Aug Palladium NYC 17 Sept (last song missing) Passaic NJ 21 Sept (high quality recording) Landover MD 2 Nov Richfield OH 31 Dec (encores missing) Richfield OH 1 Jan 1979 (5 songs) Whether they consider any of these releasable in 2 track or multi track is anybody's guess.I would love to see the last two released.

From Bruce Base 1979-01-01 - RICHFIELD COLISEUM, RICHFIELD, OH RAVE ON / BADLANDS / RENDEZVOUS / SPIRIT IN THE NIGHT / DARKNESS ON THE EDGE OF TOWN / FACTORY / STREETS OF FIRE / HEARTBREAK HOTEL / THE PROMISED LAND / PROVE IT ALL NIGHT / RACING IN THE STREET / THUNDER ROAD / MEETING ACROSS THE RIVER / JUNGLELAND / (( Sbd Tape 5 songs FOR YOU / IT'S HARD TO BE A SAINT IN THE CITY / SANTA CLAUS IS COMIN' TO TOWN / I FOUGHT THE LAW / THE FEVER ))/ BECAUSE THE NIGHT / FIRE / CANDY'S ROOM / POINT BLANK / MONA - SHE'S THE ONE / BACKSTREETS / THE LAST TIME / ROSALITA (COME OUT TONIGHT) / BORN TO RUN / DETROIT MEDLEY / TENTH AVENUE FREEZE-OUT / QUARTER TO THREE Last night of the tour, and a 31-song setlist, the longest of the tour. Last "Streets Of Fire" until 2002, last "Meeting Across The River" until 1999, last E Street Band version of "The Fever" until 1999, and the last E Street Band "Heartbreak Hotel". Rare performances of "I Fought The Law" and "The Last Time". Unusually for the tour, "Spirit In The Night" includes the "Stagger Lee" introduction. "She's The One" includes "Gloria". I should have posted this yesterday but was still affected by the 'Spirit in the night' of New Years' Eve. This show is the last of the Darkness tour and is represented by a very good and exciting audience tape (minus Quarter to Three) and a 5 song soundboard.Loads of great covers and unreleased originals. The MC introduces the show as the Boss Bowl and Bruce dedicates Spirit to Southside. Before Factory Bruce says 'Here's a couple of songs for anyone who had a broken heart. Either he miscounted or else then decided to play Streets of fire in between, who knows? Racing in the Street is dedicated to the Cleveland Nightriders...... and their girlfriends. Because the night appears to be out of it's usual pace in the set list for some reason. A great version of The last Time precedes Rosalita and Born to run has a false start as Bruce laughs 'I started playing the wrong song!' The sbd tape is pretty standard compared to the audience tape but if the whole thing exists I would like to see it released with 31 Dec 1978 in the Archive series. For the ones who had a notion that 7 archive recordings are enough from 1978, ''You gotta hear this show''

'Born to run' definitely had overdubs in the main riff. It never sounded as clean as that especially in '85.That retouching list will probably be as elusive as the Winterland video !

Well spotted, yes the line in the Bridge show is sung the same way as 16 Dec. I was never that impressed with the live set version version of 'Fire' which is a bit harsh of me considering the trouble they went to.I thought the Tempe 1980 one was better and they'd have a ready made video for the single too. Nothing's ever simple is it !!

I'm sure the 12 inch b side ''Incident on 57th Street'' is given the same suggesting it was considered for Record 1 of the set. The live archive series seems to be the authentic crowd noise and NO overdubs. Glory be !!