estband

And given that they have a very limited number of shows from which to choose with even the BORN IN THE U.S.A. Tour (mostly NJ '84 and NJ/L.A. '85, and nothing from the late '84/early '85 legs), they're guaranteed to have less from 80/81.

My first thought was either Rochester or Buffalo. And I'd guess that the L.A. recordings stem from the '80 fall stand.

It's funny that you post this because it's one of the very things that prompted me to fire off my initial e-mail to Toby. The discrepancy between his reply to me and the "30 shows" above is odd, but, given the frankness with which he answered all of my questions, I have no reason to doubt the info in our exchange.

Hopefully they eventually do, but there's most likely much less than we desire. According to Clinton Heylin's E Street Shuffle, for which he had access to studio logs and other documents, the last three Wembley shows were recorded as well as the last four dates of the Byrne stand. Obviously one from each of the above has already been released, and of course there's Nassau. Here's a relevant excerpt from an e-mail Q&A that I had with Toby Scott in early 2020 (the underlining is mine): How many full shows were recorded during the RIVER Tour? I don’t know the exact number, I remember recording Phoenix in Nov, then some city in upper NE, then Nassau over new year, later opening Meadowlands Arena (Brendan Byrne). Beyond that I don’t remember, probably a couple in LA at Sports Arena. I can speak for the legion of die-hards who desperately want to know if the 8/20/81 Vietnam Vets Benefit was professionally recorded? It was not.

I agree about LINYC, for me it's always sounded "dry". It's like there's Bruce's vocals right at the front of the mix...and then there's everything else. The Tempe NUGS release is pretty damn fantastic but I don't understand why Max's hi-hat all but disappears during the slow songs. WTF?

The classic line-up of the E Street Band, hitting the stage like a hurricane after being holed up in the studio for six months...legendary concerts indeed. This film looks beautiful and I can't wait for November 19th. Combined with the TIES box, and all of the 80/81 shows from NUGS, the last six years have been a real motherload for RIVER era freaks (like me): *Tempe video *The Ties That Bind album *Outtakes disc (though excluding "Bring On the Night" was a major boner) *Rehearsal footage *Beautifully lavish book with essential essay by Mikal Gilmore And, for what it's worth, The River: Single Album is a healthy dose of revisionism on INC's part. In his book The E Street Shuffle (for which he had access to the studio logs) Clinton Heylin refers to the album as The Ties That Bind. Mikal Gilmore, in his essay that was part of the book accompanying this very box set, called it The Ties That Bind. Bruce and Company were clearly chafed that bootleggers beat them to the punch when a CD of the same name hit the market in 1994.

Only Dave Marsh is allowed to call Bruce fans racist.

I agree, this mix certainly lacks the feeling of being "in the room". Guess I'll hold onto my NO NUKES discs from NUGS after all.

Not my observations, but some food for thought: Some glaring anomalies: Max's drumming around 1:16-1:24 Bruce as he moves from the mic 2:15 Max keeps pounding his hi-hats around 3:28 Bruce's vocals the next 25 seconds, especially: Bruce's lips aren't moving as he steps from the mic yet I hear him singing at 3:51 This isn't just bad editing, these are new recordings. Would explain why they chose to "hide" the NUGS version.

I'm so grateful that this show has been officially released. March 20th, 2008 was a special night, and I thought that the following would be worth a post today... "While my Dad was going through treatment on March 19th in NY, he was visited by Bruce and later Max, who, through a lot of talking, bribing, and begging (and finally the kicker -- Becky Weinburg, who came from NJ by boat that night) to persuade him to play, he agreed to do the show in Indy. The next thing we knew, we where picked up by a limo from Sloan-Kettering, joined by my dad's wife, Maya, Dr. Chapman and Virgina Murphy and we proceeded down the FDR highway to an awaiting helicopter that whisked us away to Newark airport in about 8 minutes (a good time by all, except maybe Dr. Chapman who was gripping the arm rests like a baseball bat). Before we knew it, we were in the jet with the boys. Danny was greeted with a lot of hugs and smiles, to say the least. An hour and a half later, we pulled into Conseco arena. When my father stepped on stage the crowd started chanting "Danny! Danny! Danny!". You could physically feel the "Magic" in the air (excuse the pun). My father proceeded to do what he does best - rock out! He played with such a natural ease. The feeling of the evening was electric. The visible bond between the fellas was so special to watch. Nils spent most of the night next to him, Clarence kept turning around to give him props during the night, and Bruce was so visibly happy to have him there. I couldn't stop smiling all night. After the exciting encore, he left the stage, went straight to the car, then to the plane, and was fast asleep in NY by 2am. It really was like a dream. In the morning, over coffee, we looked at each other and realized the magnitude of the night. It was a great day! My father has always been such an inspiration to me, I can only imagine what an inspiration he is to others." by Jason Federici Danny's appearance with the Band made this a special show, and the setlist speaks for itself. At the time I had no idea just how ill he was and that we had seen him for the final time on stage. The man was a wonder. A few notes from my write up the day after: Wow, what a night. The Chicago show I saw on 10/21 just got buried under the blistering performance that Bruce and the Band put on at Conseco. The new material worked much better for me and some key changes were made to the setlist. Call it addition by subtraction. Danny was back on stage last night and his presence lifted the whole Band, Bruce especially. I was in Section 18, stage left, about 12 rows off the floor and the moment when Danny came out and was introduced before "The Promised Land" will stand as one of the great emotional high points for me after 41 shows. The performance took off like a rocket from that moment and we were treated to plenty of gems throughout the night. And it must be said once again: NOBODY works a crowd like Bruce Springsteen. **Promised Land - Danny's first song of the night and appropriately so. What an emotional affirmation. **Spirit - Unreal. Danny was really shining as Bruce went "old-school" on us. Before going into the bridge Bruce placed the heel of his right boot on one of the monitors and stretched out his leg in preparation for the kicks he did in time with Max's snare/cymbal crashes. **Sandy - Wow, another first for me. Bruce says they “can't let Danny go without playing this one”, and his acoustic sealed it. Danny comes down front as he and the Band play a gorgeous, hearfelt version. **Backstreets/Kitty's Back - Unbelievable 1-2 punch to start the encores and this was all about Danny. Nils made a point to hang out on Danny's riser on a couple of occasions and during "Kitty" Bruce went over to Danny and said "Go man, go!" during Danny's solo. Bruce was grinning ear to ear in front of Danny and in a sweet gesture smacked the side of the B-3 before heading back to his mic, as if to say, "I can't pat you on the back Dan, but we're all so glad you're here with us tonight". "Kitty" rocked and swung, and Bruce wailed on his solo.

46 times from 1984 to 2016. From St. Louis to New Jersey and many points in between, including NYC and Philly. Quite a ride.

"E" Ticket is right next to it.

Thanks for all of your efforts and for protecting the treasure trove! Any hints about what other shows are to come?

Taken from a post on BTX (thanks, j): It will be likely widescreen, as the original film was cropped wide. This will be one of the many benefits of this awesome release. Here's an example from Jackson Browne's great version of "Running On Empty". TOP: this is the way No Nukes looks on the home release (VHS/laserdisc/CED), where it was cropped to a 4:3 image. BOTTOM: the way it looked in the theater, and as the cameraman composed it.

Because during the period in question Springsteen was an artistically conservative control freak (NEBRASKA notwithstanding).