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el sergio

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Everything posted by el sergio

  1. Yes it is indeed superfan Obie center frontrow at your Adam Raised a Cain Boston 1999 clip Thanks to @CmonMrTrouble the archived Obie topic is reopened so I put it right here to honor Obie. (btw you posted in this topic too, so full circle)
  2. Maybe a good comparision how a simple pro-shot video broadcast live over the Internet from Dallas 2014 compares with an official re-edited official video by Thom Zimny and Bob Clearmountain
  3. @CmonMrTrouble can you please reopen the archived "Obie had passed away" topic see https://www.greasylake.org/the-circuit/index.php?/topic/130070-obie-had-passed-away/
  4. Yes, you are right, completely forgot the brucevideo.com, I still have a lot of those downloaded clips on CD-R, lying somewhere in my house, can not locate them right now, but as a good Bruce afficionado I kept all my Springsteen stuff This is an excellent archived post on the Lake about brucevideos.com, seems like it was Pete from SPL who was behind brucevideos.com and Pete is reportedly now running brucebase Here are some of those original brucevideo.com still doing the rounds on YouTube
  5. Might be worth re-visting the official notes from the Pittsburgh Road: Walking into Consol Energy Center on Tuesday night, the big question was, how do you raise the bar on what happened in Charlotte? You do a completely different-themed show. And how is it that a man and a band that you first saw in 1976 can take you to the same heights in 2014? By proving it all night. You would have had a better chance of winning the Pennsylvania Lottery than you would have had at guessing Tuesday’s first song. It was The Clash, and it wasn’t “London Calling.” To most in the audience, it was a total obscurity: a fierce “Clampdown.” From that point forward, it was everything you have ever loved about Bruce Springsteen & the E Street Band and more: the iconic songs that are never short of exhilarating – “Badlands,” “The Promised Land,” “Born to Run” – and the sort of rarities, on-the-fly changes to the set list and requests that personalize each show. For veteran Pittsburgh audiences, Tuesday’s “Land of Hope and Dreams” felt especially appropriate because Consol sits on land once owned by the Church of the Epiphany that sits next door; for years, that Catholic church held a 2:30 a.m. Sunday Mass that often attracted, among others, the whores and gamblers of the night. Pittsburgh is no longer Steel Town. From McKeesport to Homestead, the mills where our fathers worked are all gone. But Bruce Springsteen’s love for this city endures. And he will always be one of us. https://brucespringsteen.net/news/2014/notes-from-the-road-pittsburgh
  6. Here is an extremely nice officially pro-shot 2014's "Kitty's Back" from Perth. Watch out the Boss inspiring string bending technique in this song. Note: I thought that the official 2014 tour clips were mixed by Bob Clearmountain. Can anybody shed a light about the mixing of those pro-shot videos? @Daisey Jeep enjoy! Wondering what it is you really like with this Springsteen Kitty thing?
  7. 1999-08-12 Continental Airlines Arena, East Rutherford, NJ Great finale to the 15-night stand, "Hungry Heart" is a duet with Jon Bon Jovi, Richie Sambora, Melissa Etheridge, and Ali Weinberg also joining.
  8. Sixties singer Ronnie Spector has credited Bruce Springsteen and his guitarist Steven Van Zandt with saving her from total destruction after she walked out on her husband Phil Spector. The Ronettes star left the legendary music producer in 1974 after years of abusive and controlling behaviour, but she found it impossible to re-ignite her career and suspected her estranged husband was using his power in the industry to hinder her comeback. Eventually she got her life back on track in 1976 by teaming up with Van Zandt and rocker Southside Johnny to record a duet written for her by Springsteen, and the song's success gave her the strength to finally move on from her past. Spector tells Mojo magazine, "What Bruce and Steven did - along with Johnny - was give me an opportunity to get out and sing on the road with a rock band and that was important to me then. My ex-husband was trying to break me and working with those guys saved me. They looked out for me, they wanted me to know I meant something to them and to music."
  9. We are almost full circle here. This is the cover of an VHS tape I still have and bought around 2001 or later. The opening double whammy of Candy's Room and The Ties That Bind from Boston 27/8/99 should be yours, dunno what to think about the rest of this VHS tape compilation. But at the time this tape filled in an enormous gap because no official complete Springsteen concert was available then, and YouTube also did not exist then so we had search for alternative channels and somehow somewhere your original tapes got distributed. Thanks anyway
  10. Or are the grand parents to blame in the first place if you read Springsteen's memoir? On the other he only did write 1 song about his grand-parents, and he did write so many more songs about his parents ....
  11. And then there is also Der „Skandal“ im Bayerischen Hof: 1993-05-15 Eine Münchner Zeitung berichtete tags darauf folgendes: Bruce Springsteen – der Boss sang gratis. München – Bruce Springsteen hätte im Hotel Bayerischer Hof beinahe für einen Skandal gesorgt … Während die Kids vor Begeisterung tobten, taten einige Eltern selbiges vor Wut „Was machen denn die Halbnackten da auf der Bühne?!„ With the Hetty Schneider Band. Bruce, Shane Fontayne, Bobby King, and Tommy Sims literally "invade" a private, upper-class dancing school ball held at the hotel where he and the band are staying. Not everybody is happy with their spontaneous "guest appearance", though, as one person (whose daughter attended the event) reportedly threatens to sue the Bayerischer Hof afterwards. Impromptu renditions of 'Lucille' and Twist and Shout'. The filmer ( probably a party guest) struggles among the crowd on the dance floor to get a clear view. Consequently, the video is very shakey with many obstructions. The image is slightly out of focus and suffers from colour saturation, but the audio is reasonable for a camcorder source.
  12. I have the Spector LP box included the Christmas special, but nothing as dear as this song I got from a cassette (and later from the Great Dane CD) from a forgotten period somewhere in the past a long long time ago. Are you listening Nugs? Like walking in the rain (like walking in the rain) And wishing on the stars (and wishing on the stars) up above And being so in love
  13. Backstreets: Ronnie Spector sang a mini-set in New York (November 4, 1976) and Cleveland (February 17, 1977). Steve Parackzy: She toured with the band most of the time. As I recall, Ronnie would come out on an encore tune and help out with some vocal harmony. I don't remember which tunes, though. Miami and Ronnie were quite an item. They were always hanging out together. There's an extremely rare offstage photograph of the Miami Horns with Bruce, Ronnie and the E Street Band, taken in Cleveland in 1977 by the late David Gahr. I seem to remember [him] taking that shot of the whole group at the airport. All I remember is that it was freezing cold outside, and I wasn't exactly dressed for the weather. It took forever to set the shot up. I'm not exactly a happy camper in that photo
  14. from Tracks Backstreets Liner Notes: TV Movie - RECORDING LOCATION: The Hit Factory, New York, NY, RECORDING DATE: June 13, 1983 HISTORY: Along with its close cousin “Stand on It,” “TV Movie” is a lively rockabilly workout recorded during a short-lived jag into the genre Bruce took in the middle of the Born in the U.S.A. sessions (see Max Weinberg’s comments below). The song was probably never seriously considered for the album, but it was perfect B-side material (we’ll assume Bruce flipped a coin between this and “Stand on It”) as a semiserious pop-culture commentary wrapped in an appealing, old-fashioned rocker. Neither Danny Federici or Steve Van Zandt plays on “TV Movie” or “Stand on It.” Clarence Clemons is credited on “TV Movie,” but his saxophone parts virtually disappear in the Tracks remix. BRUCE SAYS: “The way it came about was we were in the studio and someone was talking about some episode that had happened to them, and someone else said, ‘Look out, man, they are going to make a TV movie out of you.’ And that became kind of a running gag whenever anyone came in with a story. ‘Hey, you are going to be a TV movie next week.’ Then when I went to write about it, it became a mixture of things…. That idea that your entire identity can be co-opted and twisted around and reinterpreted and then accepted as fact because it is the most visible presentation of yourself at a particular moment. It was a joke, but it had some ironic undertones.” —Los Angeles Times interview, 1998 MAX WEINBERG SAYS: “I remember one night when we were completely packed up to go home and Bruce was off in the corner playing his acoustic guitar. Suddenly the bug hit him, and he started writing these rockabilly songs. We’d been recording all night and were dead tired, but they had to open up the cases and set up the equipment so that we could start recording again at five in the morning. That’s when we got ‘Pink Cadillac,’ ‘Stand on It,’ and a song called ‘TV Movie.’ Bruce got on a roll, and when that happens, you just hold on for dear life.” —Rolling Stone interview, 1989
  15. There was a running gag during this tour where speculation was when the Mighty Max literally should smash through his toms during the Land Of Hope And Dreams final drumsolo. That was really a showcase how powerful his drumming was right up to the very end of the concert
  16. @Breakaway there you are again. You had gone missing for a long while, just like Springsteen did in the old days going under like a submarine and coming up for air when something needed to be presented to the world By the way, the Reunion tour is currently a hot topic on the Lake and can't see any Reunion tour on your list so here is a fairly new complete concert video from Hoserama with IEM Audio (Goldilocks" mix)
  17. Astonishing statistics for the 1999-2000 tour: 5 new never heard before songs debuted : LAND OF HOPE AND DREAMS / FURTHER ON (UP THE ROAD) / AMERICAN SKIN (41 SHOTS) / CODE OF SILENCE / ANOTHER THIN LINE At least 20 (!) songs from Tracks were played: MY LOVE WILL NOT LET YOU DOWN / RENDEZVOUS / BROTHERS UNDER THE BRIDGE / WHERE THE BANDS ARE / LION'S DEN / I WANNA BE WITH YOU / THIS HARD LAND / LOOSE ENDS / CAR WASH / TAKE 'EM AS THEY COME / STAND ON IT / GIVE THE GIRL A KISS / BACK IN YOUR ARMS / JANEY, DON'T YOU LOSE HEART / DON'T LOOK BACK / BE TRUE / FRANKIE / DOLLHOUSE / ROULETTE / BIUSA (acoustic) Light Of The Day song break during the tour has included next songs and snippets: "I've Been Everywhere" / "Land Of 1000 Dances" / "I Hear A Train" / "Wipe Out" / "Pipeline" / "Peter Gunn Theme" / "Dirty Water" / "Diddy Wah Diddy" / "Hail To The Chief" / "You Can't Sit Down" / "Boom Boom" / "California Sun" / "(I Can't Get No) Satisfaction" / "Surfin' U.S.A." / "Omaha" / Hang On Sloopy" / "Wooly Bully" / "Iko Iko" / "Double Shot (Of My Baby's Love)" / "Secret Agent Man" / "C.C. Rider", "Jenny Jenny" /
  18. "It's a good night for a ride" (Bruce Springsteen & the E Street Band Tour Finale 7/1/00) Reunion Tour Finale Reflection, By Anthony Kuzminski https://the-screen-door.blogspot.com/2010/07/its-good-night-for-ride-bruce.html I had never done serious traveling for a concert before June of 2000. I had never even been to New York and when the opportunity arose to see Bon Jovi in Asbury Park, NJ on June 29th, I knew there was no way I could be that close to New York and not see the final show of Bruce Springsteen and the E Street Band’s reunion jaunt. In college I overloaded on Springsteen and was unable to secure any tickets to the The Ghost of Tom Joad tour, which was disappointing but what I was really pining for was a full on reunion with the E Street Band. This was back when concert tickets were priced reasonably and finding a ticket to this tour-finale was impossible, let alone trying to get one a mere few weeks before the show was a pie in the sky wish. I made several posts over at BTX (the Backstreets ticket board) and to my astonishment, someone emailed me, offered it to me at face and I was thunderstruck. Sometimes lady luck does shine down on us. This person could have scalped the ticket for at least triple the face value and even when I offered to pay them a little extra money, they refused. Let this be a lesson to those of you who at times get great seats for face and don’t need them. Always try and get them in the hands of a fan, it will come back to you. It was my first big trip for shows that over the next several years turned into a regular part of life. I’ve seen hundreds of shows everywhere imaginable, but there was something surreal and extraordinary about this one. What can be said about Madison Square Garden? It’s where the Rolling Stones recorded Get Your Ya-Ya’s Out, Elton John and David Bowie have had birthday celebrations there and it’s the one place in the world people will play and only break even because of union fee’s and exorbitant costs. Why…because it’s THE GARDEN. Bruce Springsteen and the E Street took to the stage later than usual and when they appeared the audience became louder and louder until Springsteen appeared and took his spot center stage and led the band through a vociferous rendition of “Code of Silence”. The emotive vocal could have scalded someone in ways a 500-degree cup of coffee never could. The bitter truth spills over in what was a reconfirmation of Springsteen’s rock voice, something that had largely been missing for well over a decade at this point and with the E Street Band, it was all that much more visceral. It was one of four new songs Springsteen unleashed in the final month of the tour and (at the time) a hopeful indication that he still had a few tricks up his sleeve. “My Love Won’t Let You Down” surged like a jetliner taking off and was highlighted by the paroxysmal triple guitar attack of Springsteen, Nils Lofgren and Steve Van Zandt was a bold juxtaposition of how far the band had come in fifteen months. If you listened to a rehearsal take of the song from the previous March (or even the official version released on Tracks) and then see the furor of its delivery, you can begin to appreciate how the band didn’t just capture the song live, but proceeded to utterly demolish the original. They made the 1990’s seem like an afterthought. Every little thing on this special night seemed to be held in higher regard; the slight touches of a solo, or nuanced vocal took on new meaning, because after all, who would know when or if we’d ever see this configuration of the E Street Band again. Even the standard fare from this evening had an epic quality to it; “Prove It All Night”, “The Promised Land”, “Backstreets”, “Ramrod”, “Light of Day” and the five-pack of “Youngstown”, “Murder Incorporated”, “Badlands”, “Out in the Street” and “Tenth Avenue Freezout” all were burgeoning with ecstatic zeal by the E Street Band. Even the nightly “If I Should Fall Behind” (one of the greatest love songs he ever composed, during the 90’s) took on new significance with members of the E Street Band taking large parts of the verses alone. There was the heart tugging “Two Hearts”, showcasing Van Zandt’s and Springsteen’s utmost duet and dedication to one another on a friendship that goes back decades. These core songs which had been performed at most of the shows over the period fifteen months solidified Springsteen’s music and his message. It was if the band were on that eternal and rarified space where they could do no wrong. The one-offs (“Lost in the Flood” and “The E Street Shuffle”) were perfect. “Lost in the Flood” received its first airing in 22-years and the version delivered was jaw dropping. It was so flawless it found its way onto the live album and DVD that came out in 2001. Then there was “The Promise”, an unofficial sequel to “Thunder Road” opened the encore with Springsteen alone at the piano delivering a song that we all thought Springsteen not only forgot about but would never perform live again. Receiving just three previous performances on the 99/00 tour, this was a surreal moment for me and validated my trip. Corresponding tales of romanticism and realism, the song hits home to anyone who tried to keep their dreams alive. Watching Springsteen and the E Street Band on July 1st, 2000 was more than a mere show, but a culmination of what seemed like my life. Am I being dramatic? Yes. Ten years later, it still stands as one of the greatest shows I’ve ever seen due to the sheer camaraderie displayed by the band. They were firing on all cylinders. What truly differentiated this show and virtually all other tour closers were the rarities and song selections. There were four relatively new songs; “Code of Silence”, “American Skin (41 Shots)”, “Further On Up the Road” and “Land of Hope and Dreams” which had either been the tour’s final or penultimate song at every show. The song (which hasn’t aged as well on other tours) was a declaration and rededication to what Springsteen and the E Street Band do best-create evocative and thought inducing rock n’ roll. I’ve gone on to see Springsteen give better shows and possibly more epic ones, but this one stands apart from them. Most bands come out, play maybe do a handful of extra songs and call it a tour. Springsteen manages to pull at your heart strings and on this particular night, I think he pulled a few of his own. When he broke apart the E Street Band in 1989, it was because he needed to find himself and come to terms with his life. He needed to get off the bus and breathe. It took a decade for all of them (including Steve Van Zandt) to reconvene and right before the band launched into “Land of Hope and Dreams”, they received their due in ways that no financial reward or any of the 130+ shows previous could match. It may have been discouraging to see Springsteen perform with other musicians and to even go it alone during the 1990’s, but you have to allow an artist the room to breathe. However, watching him with the band over the previous year made one thing clear; they’re the best voice for his work. It’s more urging and explosive. Springsteen took time to thank everyone over the course of the year that made the tour possible. From management to the crew, he took the time to express the gratitude and then he thanked the E Street Band. What happened next no words will ever do justice. The 20,000-strong crowd began to chant “E-STREET-BAND, E-STREET-BAND, E-STREET-BAND” for a solid minute. This is what separates live concerts from films, painting or even recorded music. It is all about moments where an audience can swerve it in many different directions. On this night, the reaction of the crowd and the look on band members faces, it was something embedded into my brain waves for all time. It’s the greatest reward anyone could ever be granted and on this night, the E Street Band received their reward. During “Born To Run” I couldn’t help but get teary eyed, for the same reason you do at a friend’s wedding, or even a graduation. What if I never see this again? What if these individuals never share the same stage again? You know there’s a good chance you’ll never be in the same place at the same time again and you realize it at that very moment and this alone is worth its own weight in gold. It’s one thing to look back and have a moment of realization and another to find yourself in the moment experiencing the awakening. An intense experience like this isn’t really an out of body experience so much as it throws you right into the depths of your own heart. Sure, we’ve all been hurt and beaten down by people and situations within life, but when Springsteen and the 20,000 inside the walls of the Garden screamed “I want to know if love is real”, you were dead smack inside your heart fully aware of its capability to feel love, share it and above all experience it. I sound like a broken record when I say great art makes you reflect and ponder life, but on this particular night, Springsteen’s music found a way to twist and turn inside you and bring to fruition that we are all capable of experiencing profound love, the question is whether or not we get in that car and take a chance at it. The night’s final song began with a single swelling keyboard by Roy Bittan and as Bruce began to sing, we came to the realization it was “Blood Brothers”, one of four tracks released in 1995 on the Greatest Hits package. It seemed at the time a reunion was imminent, but it proved not to be. This song could have served as a theme for the tour, but until this final show, it remained unaired. In 1995, the song was more melancholy than a triumphant call to arms but all that changed. As the band made its way through the first 2/3rd’s of the song, they delivered a strident performance, but it was during the final verse where everything changed. Springsteen asked for everyone to join him hand-in-hand at the front of the stage (Max Weinberg, Danny Federici and Roy Bittan stayed at their respective instruments) and Bruce unveiled a new specially written verse for the occasion. Now I'm out here on this road Alone on this road tonight I close my eyes and feel so many friends around me In the early evening light And the miles we have come And the battles won and lost Are just so many roads traveled So many rivers crossed And I ask God for the strength And faith in one another 'Cause it's a good night for a ride 'Cross this river to the other side My blood brothers This is what differentiates Springsteen from other acts; he doesn’t just give you an extra song or two, but wallops you with emotional thumps that are impossible to forget. The song may have been rehearsed and was pre-determined, but the sentiment inside that room was ethereal. While Springsteen took the E Street Band on three further tours that decade, that moment still resonates in my mind. It kills me (let me repeats…KILLS ME) they only show a small portion of “Blood Brothers” on the Live From New York City DVD. A board recording was played on E Street radio in April of 2008 when Danny Federici died making the song that much more solemn and poignant. It wasn’t the last time we saw the E Street Band, but as I look back now, Danny is gone and the band is a bit different from that incarnation. There was something beautiful about that tour. The excitement, the feeling of renewal and the overriding sense that anything was possible, not just on that concert stage but within our own lives. Why is it we listen to music? Some may answer this question by throwing words like “escape” and “fun” out, but if you really love music and the artists you follow, then it’s something so much more. It forces us to reconsider preconceived notions. Dig up unfinished business from the past and it validates our place in the world. Even though I went to the show and New York City alone, I felt love all around me, and this love was further pronounced on that concert stage. On that tour Springsteen learned that there is a greater reward from sharing something with people whom you have known for decades and it’s always better to be surrounded by family than going it alone. Hopefully Springsteen’s fans took that cue as well. I went back to my life with a renewed sense of purpose and over the coming years, great things happened. Tough ones too, but through it all, like the Beatles once said; we have to remember that love in indeed all we need. If you surround yourself with great people, they make this insufferable world livable and even at its darkest moments, great people and great art can still make like joyous.
  19. Well one man's beer is another man's thrash. I could say the same of all the E-Street Band River version from 2007 on, they sound dull and one might wonder why he keeps playing it. One way to find a good middle ground here is to pose the question: why did Springsteen change so dramatically that River version during the 1999-2000 tour. It was performed that way 89 times. That is quite a statement. So why did Springsteen change it so dramatically?
  20. 18/03/00 - PYRAMID ARENA, MEMPHIS, TN ...the only performance during the REUNION-Tour.....
  21. 22-05-2000 Arrowhead Pond Of Anaheim, Anaheim,California Beginning in 1999 with the Bruce Springsteen and the E Street Band Reunion Tour and "Racing in the Street" appeared intermittently, often rotating with "Backstreets", "Jungleland", and similarly long, intense songs in a late-in-main-set "epic" slot. Clarence Clemons' baritone sax was added more to the mix, but the lead was still Bittan, playing coda sequences up to several crescendos, before playing a minor-key line that signalled the conclusion.
  22. Land of Hope and Dreams No one had expected a new tune in those early shows, and even insiders (e.g. Dave Marsh) were taken aback when they finally heard it. Not just because it was new, but because it was obviously a top-rank addition to the canon - another warm-hearted, starry-eyed anthem to finding the light in the darkest of moments: A song about death not as an end, but as the start of a higher, spiritually unified existence. Grab your ticket and your suitcase/Thunder's rolling down this track/Well, you don't know where you're going now/But you know you won't be back... The minor-to-major chord progression, a journey built on ringing electric guitars, mandolin, organ and vocals that weave into the chorus that describes the passengers welcome on the train beyond the horizon: losers and winners; saints and sinners; whores and gamblers; lost souls. All headed for a world where dreams will not be thwarted, where faith will be rewarded. Hear the steel wheels singing/bells of freedom ringing! Is this a glamorous, or even vainglorious, a portrait of judgment day? Or that it might strike some listeners as a vision that annoints without question or even the slightest hint of harder questions and moral judgments. But in this moment, on the threshold of mortality, I don't think that matters for anyone. It's a song about wishes. About the darkness you must navigate in this world, all in the name of the light you imagine waiting somewhere down the path. About the hope every parent has for his or her child, it's the journey you want to take with them when the moment comes. I will provide for you/And I'll stand by your side/You'll need a good companion for this part of the ride... Or maybe it's just a catchy rock 'n' roll song with a driving beat, some raw-voiced singing and some kick-ass hard rock mandolin courtesy of Little Steven. Yes, that's it exactly. But right here, between us saints and sinners, losers and winners, whores and gamblers and lost souls, that's enough. More than enough.
  23. Live in New York City 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": "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.
  24. A similar theme emerges in "If I Fall Behind", wherein a simple pledge between spouses/lovers becomes a pledge of friendship & faith across racial, gender,and generational borders. Bruce's "casting" the various E-Streeters to take verses & choruses is nothing short of brilliant, and the sequencing of same is nothing short of chilling to me. Very powerful & moving.
  25. Out In the Streets changes from a simple song from a young guy inviting his lady out into an invitation from Bruce, Patti, Nils, Clarence & all to join them in their world, not just the show but the brotherhood they embody.
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