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What are your unpopular Springsteen opinions?


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On 9/12/2018 at 4:48 PM, Bosstralian said:

Mangus did say a hook Bruce came up with, the Radio Nowhere one is lifted wholesale from 8675309 by Tommy Tutone.

I think the We Take Care Of Our Own intro hook is great personally so I do disagree with the original assertion that Lucky Town was the last good one.

Except he lifted that one too:

 

(I know this is a cover, I just don't care for Dionne Warwick.)

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8 hours ago, Lampi said:

Looking at the core U.S.A. Tunnel Tour setlist, it seems likely Adam Raised A Cain (not played since mid-Darkness Tour), You Can Look... and Raise Your Hand (both not played on the BUSA Tour) also were added because they were on Live 1975/85-and also to replace the old warhorses.

And maybe (or probably) the Bridge Benefit 1986 version of You Can Look...was the inspiration to play that song like it was played on the Tunnel Tour-mostly sounding like The Ties That Bind single album version.

That's very reasonable, especially when it comes to Raise Your Hand. 

I think the other two were included mostly because they fit thematically (of course, Bruce could have included Independence Day somewhere else in the set), and Bruce was reminded of them when putting together Live. 

But: pure speculation, your theory's as good as mine, maybe even better. 

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4 hours ago, Dr. Zoom said:

, Bruce could have included Independence Day somewhere else in the set

That is a very good point; Independence Day after Two Faces and before All That Heaven Will Allow, replacing the only thing which was not great about the first set: the park-bench story.

(With maybe even sometimes Factory replacing Independence Day for a little bit variation in the setlist; and My Father's House too obscure).

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2 hours ago, Lampi said:

That is a very good point; Independence Day after Two Faces and before All That Heaven Will Allow, replacing the only thing which was not great about the first set: the park-bench story.

(With maybe even sometimes Factory replacing Independence Day for a little bit variation in the setlist; and My Father's House too obscure).

Thing is, neither Indy Day or Factory create that tension that the 1st set benfits from. Indy Day and Factory aren't angry enough and are too conciliatory; wouldn't fit in that slot after Two Faces. It could maybe have fit in the second set, but overall I think the themes don't fit very well. And before it's pointed out: the themes in Part Man don't necessarily seem to fit either, but... they do.

Now, if they'd playef Independence Day with a reggae beat... :P

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20 hours ago, Paolo's Circus Story said:

The studio version of "Restless Nights" is really bad and if it wasn't for the Buffalo 2009 show I'd never give the song the time of day. 

Whoever decided "When You Need Me" should go after "Janey Don't You Lose Heart" on Tracks disc 3 deserves a slap. 

Agree about Restless Nights...never much cared for the song.

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IMO his concerts could be even better with an ounce of visual flair. It amazes me that someone who can paint a picture with words and music has a total blind eye to the visual.

His album covers are apart from a couple of winners hopeless, his videos the same! 

In concert the opportunity has been missed to maximise the experience and impact for the audience. Whereas I could forgive this in his earlier days and small venues, from 1984 onwards and particularly since 2000 with the improved technology available I can not. I do not expect Pink Floyd/U2 levels of pyromania but a decent lighting and screen display would enhance the show.

I expect people will say that he wants to showcase the music and writing and visuals would take away from this. Rubbish, if that was the case stick to small venues. I fear it maybe a case of tightfistidness and not being able to give control over to someone who has visual flair.

Still the best gigs around but oh what it could have been!

 

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I really don't care about effects, but visibility is key.  One of my gripes about the River tour was the video screens.  I was in the seats for a couple of those shows whereas I've always gone for standing before.  There were two vertical screens at either end of the stage and they only ever showed Bruce, even when other band members had solos.  The rest of the band were only shown on the screen behind the stage, so not really visible to a majority of the seated audience.  There was clearly no thought put into that at all.

Compare the very simple set-up on the recent Rolling Stones tour - four tall vertical screens extending way above the stage with constantly changing content, and angled so that everybody got a view.

http://www.stufish.com/zh/project/no-filter-tour

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6 hours ago, Harry42 said:

IMO his concerts could be even better with an ounce of visual flair. It amazes me that someone who can paint a picture with words and music has a total blind eye to the visual.

His album covers are apart from a couple of winners hopeless, his videos the same! 

In concert the opportunity has been missed to maximise the experience and impact for the audience. Whereas I could forgive this in his earlier days and small venues, from 1984 onwards and particularly since 2000 with the improved technology available I can not. I do not expect Pink Floyd/U2 levels of pyromania but a decent lighting and screen display would enhance the show.

I expect people will say that he wants to showcase the music and writing and visuals would take away from this. Rubbish, if that was the case stick to small venues. I fear it maybe a case of tightfistidness and not being able to give control over to someone who has visual flair.

Still the best gigs around but oh what it could have been!

 

Not the whole audience, I love the more basic approach that he takes, simple for me is best and I only tend to focus on the players on stage no matter who the band.  However, I did love the split screens on The River tour, especially when he and Stevie were singing Point Blank.  Awesome and striking visuals for the eye.  Suited the song perfectly.  

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26 minutes ago, Kay said:

Not the whole audience, I love the more basic approach that he takes, simple for me is best and I only tend to focus on the players on stage no matter who the band.  However, I did love the split screens on The River tour, especially when he and Stevie were singing Point Blank.  Awesome and striking visuals for the eye.  Suited the song perfectly.  

agree if i want a light show i will go to a firework display absolutely hate the distraction of all that

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On 9/16/2018 at 11:23 PM, Lampi said:

Looking at the core U.S.A. Tunnel Tour setlist, it seems likely Adam Raised A Cain (not played since mid-Darkness Tour), You Can Look... and Raise Your Hand (both not played on the BUSA Tour) also were added because they were on Live 1975/85-and also to replace the old warhorses.

And maybe (or probably) the Bridge Benefit 1986 version of You Can Look...was the inspiration to play that song like it was played on the Tunnel Tour-mostly sounding like The Ties That Bind single album version.

I've wondered why Bruce chose the outtake version of You Can Look over the released one. Probably because the "regular" version was too fast and wouldn't have worked with the original intro story or the Don't You Touch... story-song on the Euro leg. The music on the outtake version suits the tone of the show better, and allows for being stretched out. 

But it also hints at that Bruce at that point was starting to look into his studio past, maybe specifically The River sessions; Roulette as a B-side and tour staple, You Can Look outtake version... He did say that Tunnel in some ways came out of had some origins in Stolen Car, so there's that, and it has been mentioned that Spare Parts may have been written in the very early Eighties. 

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4 hours ago, Dr. Zoom said:

I've wondered why Bruce chose the outtake version of You Can Look over the released one. Probably because the "regular" version was too fast and wouldn't have worked with the original intro story or the Don't You Touch... story-song on the Euro leg. The music on the outtake version suits the tone of the show better, and allows for being stretched out. 

But it also hints at that Bruce at that point was starting to look into his studio past, maybe specifically The River sessions; Roulette as a B-side and tour staple, You Can Look outtake version... He did say that Tunnel in some ways came out of had some origins in Stolen Car, so there's that, and it has been mentioned that Spare Parts may have been written in the very early Eighties. 

The Ties That Bind single album as released in the box plays like a less mature version of Tunnel Of Love. Some of the same themes were starting to be explored. I agree Bruce may have been looking back at the time and recognized the generation of TOL in some of this material

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One very unpopular opinion (which not even I really like to own up to) is the fact that I didn't much like the halftime show at the Super Bowl. Tenth Avenue has a lot of significance for Bruce fans, but not for the general public, Working on a Dream might have been a newish song but not one of his strongest ones, I thought he could have picked better ones to showcase his career. :ph34r:

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8 minutes ago, berlintramp said:

One very unpopular opinion (which not even I really like to own up to) is the fact that I didn't much like the halftime show at the Super Bowl. Tenth Avenue has a lot of significance for Bruce fans, but not for the general public, Working on a Dream might have been a newish song but not one of his strongest ones, I thought he could have picked better ones to showcase his career. :ph34r:

I agree with you, I think the half-time show was disappointing and quiteweak, plus I was really disappointed in Bruce when he decided doing it. 

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