el sergio

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  1. Bruce Springsteen's career and music have been written about so extensively that it's difficult to believe there are any questions still waiting to be answered about his classic records, but it's true, and we've just been granted the answer to one of the oldest Boss-related mysteries. Specifically, if you've ever looked at the cover of Springsteen's "Hungry Heart" single and wondered about the woman on the bicycle in the background, her identity has now been revealed courtesy of the Asbury Park Coaster, where reporter Joseph Sapia delves into the history of the cover shot — starting with the copy Springsteen signed for photographer Joel Bernstein, writing, "Who was that girl?" It wasn't until sometime later in the '80s that New Jersey resident Annmarie Solimini Adderley realized she was the one straddling her bike while leaning into the payphone in the shot — and it wasn't until earlier this year that a Facebook discussion among a group of Springsteen fans led to Adderley tracking Bernstein down and reaching out to him. "People were commenting if this girl ever claimed her fame," Adderley tells the Coaster. "My girlfriend emailed me, ‘They’re talking about you.’" According to Adderley, she didn't recognize Springsteen at the shoot and didn't realize what she was pedaling into; similarly, Bernstein looks back on her sudden presence in the background of the shot as a serendipitous bit of happenstance that ended up adding something extra. After speaking with Adderley and verifying her claim, Bernstein sent her a signed copy. "Bruce Springsteen and Annmarie Adderley, the mystery girl at the phone booth," reads the inscription on the photo, which is being mounted at the Ocean Park Gallery in Asbury Park. "This print is my gift to you after all these years for inadvertently bicycling into my frame and serendipitously adding a degree of depth and mystery that I could never have come up with on my own."
  2. Early versions of Frankie in 1976 had a few line later appearing in Drive All Night: There's machines and there's fire on the outside of town Young boys for hire waiting to blow us all down Heart and soul, heart and soul, heart and soul, heart In the darkness there'll be hidden worlds that shine, that line re-appearing in a Darkness song
  3. Jersey Girl, lyrics added by Bruce, not in the original Tom Waits version: Sometimes I see you on the street and you look so tired I know that job you've got leaves you so uninspired When I stop by to take you out to eat I find you lying, all dressed up on the bed, baby, fast asleep That part is from The River outtake Party Lights
  4. She´s the One at the Main Point 2.05.1975 Parts of lyrics will appear later in Backstreets: I hated your Ma, and I hated your Pop, hated the kids, we hated the cops Hated the lies, hated the truth that run us down Most of all I hated that town, that one day town, I hated the way they made us live I hated him and his fancy ways And I hated you when you ran away https://www.youtube.com/watch?v=PGaQTEBbLTo&list=PLPNz1bcR7JagzIFTsJAzY1goG5IDipI7W&index=20
  5. 1980-11-28 - MADISON SQUARE GARDEN, NEW YORK CITY, NY At the end of "Ramrod" the band segue (without a key change) into a verse from Bruce’s (already studio recorded, but at the time unreleased/undocumented) "Living On The Edge Of The World" (re-written in 1981 as "Open All Night").Visit the Media tab to listen: http://brucebase.wikidot.com/gig:1980-11-28-madison-square-garden-new-york-city-ny
  6. Sad Hill Unearthed An eclectic group of fans of 1966's "The Good, the Bad and the Ugly" attempt to restore the cemetery set in Spain where the movie's climax was filmed. https://www.netflix.com/be-en/title/80988832 not Bruce related, but very recommended to watch with some very surprising appearances
  7. And where can we find this best ever piece of writing?
  8. Grazie Ennio "C'era una volta il west", the music features leitmotifs that relate to each of the main characters (each with their own theme music) as well as to the spirit of the American West: For Charles Bronson ("Harmonica"), the mysterious, searching stranger, there is the shrill, light-sounding harmonica When Jason Robards ("Cheyenne"), the good-spirited freeman, comes into the picture, a cheerful honky tonk piano sounds and, as a precursor to imminent danger A distorted electric guitar sounds like Henry Fonda ("Frank"), the unscrupulous cold murderer, appears on the scene Claudia Cardinale ("Jill"), a former prostitute who leaves for the West to start a new life, sounds a compelling and wordless vocal by Italian soprano singer Edda Dell'Orso accompanied by a choir.
  9. I was delighted to accept the invitation of Leonardo Colombati to write an introduction for his book on Bruce Springsteen. It’s not a rough hagiography glorifying a legendary rock star; there is no photo of the sweaty singer raising his arms to the sky as he receives the ovation from thousands of ecstatic fans in front of the stage; and, above all, we find no trace of this sloppy and neglected inaccuracy that usually distinguishes works illustrating popular songs. Throughout the twentieth century, this kind of music was a generous source of emotions, a source that accompanied several generations from adolescence to middle age, relating - often much better than other arts - the human condition in contemporary society. Here is exposed a simple truth, long recognized in the United States, where popular music is considered an essential part of a unique tradition, by which Hermann Melville and Walt Whitman, Robert Johnson and Louis Armstrong, John Ford and Bruce Springsteen live side by side side by side, in perfect harmony. On the other hand, here in Europe, this tradition is underestimated: the gap, dug centuries ago, between popular culture and - literally - "noble" culture, has never been bridged. As with cinema, despite the many masterpieces etched in our memories, still struggling for a simple recognition of what it is - an art whose ramifications come from the narrative arts, imagination and music - thus, concerning the musical field, there is always an abyss between "cultivated" music and "pop" musk: only music already considered ancient and historical or - on the contrary - experimental and elitist, is recognized as " true art ". I first met Bruce Springsteen in Rome in 1996, at the end of an acoustic concert he had just given at the Sainta Cecilia Auditorium. He had just come down from the stage, accompanied as often during these concerts, by the background notes of Jill’s Theme, music I had composed for the film Once Upon a Time in the West. Needless to say, my joy. Our meeting took place backstage and was very friendly: Bruce hugged me and insisted on being photographed by my side. We had never seen each other before and had long wanted to meet in person, for a simple reason also: both of us, we felt spiritually very close, both socially and politically. In his songs, Springsteen creates a strong feeling of piety, pain and humanity inherent in the characters he describes. And he does it, not only through his music, using different timbres and different sounds to give them an original personality, but also through words: that's where his real strength lies. Proof of this is the texts chosen and compiled in this book, with the exhaustive criticism which accompanies them and which highlights their literary opulence, by intermingling different and varied sources - from the Bible to the cinema, from the blues to the news; and also in the narrative power that transforms this repertoire of songs composed for over 35 years into a kind of Great American Novel. Or, using the words of Springsteen, into a screenplay of "great film for an American drive-in". Just reading the lyrics of Jungleland, Racing In The Street and The River makes us realize that this is a reality. Springsteen's writing is "cinematic": each verse is a camera shot, each verse is a scene, and each song introduces the character's entire personality, taken at a decisive moment in his life. Any composer who, like me, wrote music for the big screen, cannot feel indifferent to this cinematographic style writing. Film music, if it is valid, can be listened to and appreciated without looking at the images. At the same time, Springsteen's songs - both the music and the lyrics - could very well be compared to the music of a film that is still to be shot: they don't need images to accompany them, because they were created by the songs themselves. In order to describe Springsteen, rather than the Italian term "cantautore", it would be much more preferable to use the American expression "storyteller". In fact, Springsteen perpetuates a tradition created by bluesmen and folk singers, similar today to the almost extinct figure of our ballad singers. A certain part of my theme as a film composer, but also his own, although it is very different, has a common base in this use of simple chords which allows to create structured and original melodies. The instrumental music composer must "release" this simplicity through an elaborate orchestration; the composer-performer / storyteller can do the same using both voice and words, as long as the voice communicates an emotion and the words are "sincere". I love Springsteen precisely because it puts his need for Truth first. This is the reason why he manages to escape fleeting trends and the reason why his music runs no risk of being lost on the road of time. NOTES: this text is the preface from Ennio Morricone to Leonardo Colombati's book "Bruce Springsteen - Come un killer sotto il sole - Il grande romanzo americano (1972-2007)", published in 2007 by Sironi Editore and reissued in 2009.
  10. Garden Party: First things first. When Sony initially announced the track listing for the two-CD set, Internet fan groups lit up over what was missing, so let's clear up one thing: While drawn primarily from the July 1, 2000, Madison Square Garden concert (a few songs come from June 29, as the E Street Band held a 10-night NYC residency), this is not intended as a blow-by-blow reproduction. The final gig of the '99-'00 reunion world tour ran 28 songs and lasted well over three hours, while the main body of Live in New York City is only 13 songs -- 14 on the video -- and about two hours (the CD also adds six "bonus tracks" -- more on that in a moment). Right off, then, the question arises, what did Springsteen have in mind with this set? Clearly, he wasn't concerned with usurping the bootleggers' turf; every date from the tour is in underground circulation, and one bootleg label, Crystal Cat, issued a professional three-CD edition of the entire July 1 show titled Legendary Night. As Springsteen albums have always been meticulously structured in an attempt to communicate meaning to the fans, this one, too, has its own internal logic. It comprises five distinct "movements" (which I've labeled with my own headings, in parentheses): "My Love Will Not Let You Down"/"Prove It All Night"/"Two Hearts" (The Power of Love, Faith and Camaraderie); "Atlantic City"/"Mansion on the Hill"/"The River" (Raised Hopes, Dashed Dreams); "Youngstown"/"Murder Incorporated"/"Badlands" (A Refusal to Lie Down); "Out in the Street"/"Tenth Avenue Freeze-Out" (Celebration and Release -- including, on the video, "Born to Run"); "Land of Hope and Dreams"/"American Skin" (Transcendence and Passage). Basically, Springsteen has distilled his show down to its essential philosophical core. These themes have frequently appeared in his work over the years, and consistently so during the reunion tour. A songwriter's driving force, after all, is to set forth images, ideas and ideals with the hopes that his audience will, as Springsteen has suggested in interviews, glimpse themselves in his work and in turn grasp the larger connections -- the ties that bind. (It's not a "greatest live hits" package, either, given the inclusion of two new songs and material from Nebraska and the Tracks boxed set. check the rest of this outstanding article by Fred Mills from Phoenix New Times: https://www.phoenixnewtimes.com/music/garden-party-6417254
  11. In an Interview from the German Rolling Stone there's an interesting statement from Bruce about the two 'Brothers under the bridge(s)": Q: You wrote two songs named 'Brothers under the bridge(s)". One is from '83 (about teenagers), one from '95 (about Vietnam-vets). Is there aconnection, regarding contents? A: The first is from the BITUSA period, and it's a song about growing up. When I was 14, I admired those boys and the close friendship that connected them. I wanted to belong to them back then. The end of the last verse indicates that changes were ahead of them. While working on 'Tom Joad" 15 years later, I remembered that title. I lived in California, and in the St. Gabriel Mountains, east of LA, there lived a group of Vietnam Vets. I wanted to write a song about them.They found the city so brutal that they simply left it entirely to live in the mountains where they couldn't be reached. The connection is, that many of the boys that I admired in 1964 when I was 14, had to go to Vietnam later. In the first song I sang about 'marching feet come and gone'. That really happened. I met them again in the St. Gabriel Mountains in some fashion.
  12. Yes you are right. Wasn't it Bob Dylan who said that "All the songs are boundaries and together they simply made a map, they told a certain generation, a certain pop audience, where it was" In that regard I am pleasantly shocked by the sheer song selections in Springsteen's SiriuxXM shows. A lot of Lakers will start to hate it when I say this but those FROM HIS HOME TO YOURS show are more valuable than the Archive shows. This is because the Radio shows are open to a much bigger audience than the specialist Archival shows. I have already sent some useful links from the Radio show to some friends who know Springsteen, but are not into live recordings. They are pleasantly shocked ... Also Bob Dylan hosted his own radio show called "Theme Time Radio Hour" quoting wikipedia: each episode was an eclectic, freeform mix of blues, folk, rockabilly, R&B, soul, bebop, rock-and-roll, country and pop music, centered on a theme such as "Weather," "Money," and "Flowers" with songs from artists as diverse as Patti Page and LL Cool J. Much of the material for the show's 100 episodes was culled from producer Eddie Gorodetsky's music collection, which reportedly includes more than 10,000 records and more than 140,000 digital files To get back on the Boom Boom topic, here is Rufus Thomas soulful version (it notably featured Donald "Duck" Dunn on bass) which Springsteen certainly might have had heard since he was more into soul than into blues
  13. https://www.greasylake.org/the-circuit/index.php?/topic/130020-brothers-under-the-bridges-83-why-no-live-love/ @Moderators: why on earth or topics archived and closed to further replies???????
  14. Hey Paolo, is this just a click bait to your blog, or are you really in trouble and is Bruce Inc harassing you