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03/28/88 Detroit, MI - New Nugs release!


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On 3/6/2020 at 4:19 PM, Promise61 said:

If you like horns, listen very closely and you might just hear them in the mix.

I heard some horns ...but having never heard another TOL medley i'm not sure how prominent they were supposed to be .....maybe i was a little underwhelmed..... i do love the Fanfare at the end of the Medley though .....was used on Raise Your hand most of the tour i gather. 

Over all though maybe the best Medley release i have heard ....I think it could/should  have been 8-20-84 one but there are some noises that really annoy me :(.....this ones perfect though ...and they recorded to the very end of it  unlike 1981 which i also love :)

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Haven't bought it yet, but I guess I'm kind of familiar with most of it, in a way. My first bootleg was a taped copy of the April 4th concert, from just a week later than this nugs release. Finally a Detroit medley from '88, and Walk Like A Man. I love 1988. That Be True from this show was released officially in 1988 did show how confident Bruce was in that it was well played.

Looking at pictures from '88, it struck me that there were new outfits for everyone, new instruments (Roy's piano was grey, and of course Garry had a new bass; I still can pick out which tour a picture the quickest by looking at Garry's bass) - save for Bruce's Fender. The only piece of equipment that wasn't new and shiny. A fabulous contrast to the suits and ties and white shirts.

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One of the things that struck me about the Tunnel...shows is  that, initially at least, I felt they lost momentum in the second set; I didn't really like I'm A Coward, Part Man Part Monkey, or the rockabilly You Can Look...Although I'm not still fully sold on I'm A Coward, both Part Man..and You Can Look..have really grown on me (although I prefer the intro for You Can Look...from Stockholm) with repeated listens. Part Man...particularly fits in with theme of the Tunnel of Lust tour. Oh, and Patti was mighty fine in '88. They also tend to be the shows I listen to most from start to finish, because they are just so well constructed.

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As well designed as these shows were, I always feel like the one-two punch of “War” into “BITUSA” felt out of place on this tour, and I often skip these and go to the second set.  In another setting these two songs complement each other thematically very well, but to my ear they are just jarring on these shows and don’t really belong between “Spare Parts” and “Tougher Than The Rest” in the sequence.

I suppose that a “love and war” connection is tenuous and may be a link, but otherwise I think it’s just an excuse to bring out the horn section unnecessarily.

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BITUSA 88 style is the definitive version for me. The intensity of Max’s drum finale takes it to another planet. But the Amnesty show versions were even better as it was a show opener (as the song was always intended as far as I’m concerned) and unlike the ToL version, it was preceded by the legendary “1,2....1,2,3,4”.

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3 minutes ago, doesthisbusstop said:

BITUSA 88 style is the definitive version for me. The intensity of Max’s drum finale takes it to another planet. But the Amnesty show versions were even better as it was a show opener

Those Amnesty openers were killers!! Agreed, and yes BITUSA was better in 88. 

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1 hour ago, badlands78 said:

As well designed as these shows were, I always feel like the one-two punch of “War” into “BITUSA” felt out of place on this tour, and I often skip these and go to the second set.  In another setting these two songs complement each other thematically very well, but to my ear they are just jarring on these shows and don’t really belong between “Spare Parts” and “Tougher Than The Rest” in the sequence.

I suppose that a “love and war” connection is tenuous and may be a link, but otherwise I think it’s just an excuse to bring out the horn section unnecessarily.

Guess it worked better with an actual intermission.

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Stockholm is the gold standard for me in terms of overall performance, but I am partial to Light of Day from the NYC show; the performance of Born to Be Wild in Light of Day is amazing, I also think the One Step Up..is far superior to Detroit.  I am  liking the performance of Spare Parts from Detroit though. Of course you need the early shows for the additional TOL material.

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12 hours ago, badlands78 said:

I suppose that a “love and war” connection is tenuous and may be a link, but otherwise I think it’s just an excuse to bring out the horn section unnecessarily.

Or what was said on this forum:  the baby in Spare Parts goes to war [as an adult, not as a baby] and ends up as the veteran from BUSA. Who is -maybe- the same person as the veteran from Shut Out The Light who -maybe- commits suÎcide.

This-only a theory of course- makes a little more sense if the rumour is true that Spare Parts was written in the early 80s.

Also, (as Mr. Zoom said) you maybe should not underestimate the power and effect of ending the first set with BUSA (in the arenas of the U.S.A.).

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1 hour ago, Lampi said:

Also, (as Mr. Zoom said) you maybe should not underestimate the power and effect of ending the first set with BUSA (in the arenas of the U.S.A.).

I was too young at the time but would have loved seeing that !

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4 hours ago, Lampi said:

Or what was said on this forum:  the baby in Spare Parts goes to war [as an adult, not as a baby] and ends up as the veteran from BUSA. Who is -maybe- the same person as the veteran from Shut Out The Light who -maybe- commits suÎcide.

This-only a theory of course- makes a little more sense if the rumour is true that Spare Parts was written in the early 80s.

Also, (as Mr. Zoom said) you maybe should not underestimate the power and effect of ending the first set with BUSA (in the arenas of the U.S.A.).

As much as I love the addition of Chimes... in Europe, ending the set with BITUSA, then intermission and then opening the second set with Tougher was brilliant. Never actually experienced it ("my" show in Oslo ended with Chimes in the first set and the second started with Thunder Road; not too shabby, I have to admit), but the "American" sequence did come across very well on the bootleg from April 4. And to my ears, much more effective. Ending the set on such an angry, devastating note...I imagine it left one on one's toes for half an hour and must have set the scene perfectly for Tougher. All speculation on my part.

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4 hours ago, Dr. Zoom said:

As much as I love the addition of Chimes... in Europe, ending the set with BITUSA, then intermission and then opening the second set with Tougher was brilliant. Never actually experienced it ("my" show in Oslo ended with Chimes in the first set and the second started with Thunder Road; not too shabby, I have to admit), but the "American" sequence did come across very well on the bootleg from April 4. And to my ears, much more effective. Ending the set on such an angry, devastating note...I imagine it left one on one's toes for half an hour and must have set the scene perfectly for Tougher. All speculation on my part.

Good morning Zoom .... 

This tour has always been special to me: I saw three in a row as a teenager: Both Atlanta and then Lexington. 
 

I agree with what your saying but I never understood why "War-USA" was ever played at all! Sure sounds good - but what do they have to do with a shitty relationship with a chick or the fundamentals of a relationship? I guess if we dissect a song long enough, we can find it means all kinds of stuff! But I’d rather he chose different songs here/there in the first set - even 'Darlington County’ into 'Thunder Road’ could have worked; let alone "Protection” somewhere. 
 

Good read Zoom,

 

Brad

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9 hours ago, Lampi said:

Or what was said on this forum:  the baby in Spare Parts goes to war [as an adult, not as a baby] and ends up as the veteran from BUSA. Who is -maybe- the same person as the veteran from Shut Out The Light who -maybe- commits suÎcide.

This-only a theory of course- makes a little more sense if the rumour is true that Spare Parts was written in the early 80s.

Also, (as Mr. Zoom said) you maybe should not underestimate the power and effect of ending the first set with BUSA (in the arenas of the U.S.A.).

The dude in "Shut Out” IS the EXACT same guy as in BIUSA; both were/are still 'Nebraska' tunes. 
 

Brad

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20 hours ago, fadeaway said:

Those Amnesty openers were killers!! Agreed, and yes BITUSA was better in 88. 

Dude - WTF is with Gary’s bass on this number back in 88? It’s turned up way to high!! Doesn’t he have respect for the people in the audience recording the show?? I’ve been turning that down in every car I’ve owned since then!!

lol

 

Brad

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45 minutes ago, BruceHistory said:

How could I have not known that - now I feel stupid lol

 

Im serious too ...

 

 

Brad

Don't feel bad mate... took me a while to figure out. And that's one of my favourite Springsteen songs...

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1 hour ago, BruceHistory said:

Good morning Zoom .... 

This tour has always been special to me: I saw three in a row as a teenager: Both Atlanta and then Lexington. 
 

I agree with what your saying but I never understood why "War-USA" was ever played at all! Sure sounds good - but what do they have to do with a shitty relationship with a chick or the fundamentals of a relationship? I guess if we dissect a song long enough, we can find it means all kinds of stuff! But I’d rather he chose different songs here/there in the first set - even 'Darlington County’ into 'Thunder Road’ could have worked; let alone "Protection” somewhere. 
 

Good read Zoom,

 

Brad

Thanks, Brad and good morning to you too.  I can see that they seem out of place, but I think they tie in well with Seeds and Roulette. I think that there are multiple reasons why these seemingly tematically jarring songs were played, the most obvious being that 3 of the songs were quite recent, and the 4th was one of Bruce's biggest hits. War was a Top 10 single, and all the songs were recent enough then not to be labelled "war-horses". Also, the music itself made the set flow very well. The Seeds riff coming after ATHWA just fits so well, the creeping synth intro to Cover Me fitting beautifully coming after the rumbling Roulette tom-toms. And BITUSA, excellently paired with War, taking the place of the more triumphant and joyful Thunder Road, or Jungleland. 

The merch said "This is not a dark ride". The merch was ironic, of course.

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2 hours ago, BruceHistory said:

Dude - WTF is with Gary’s bass on this number back in 88? It’s turned up way to high!! Doesn’t he have respect for the people in the audience recording the show?? I’ve been turning that down in every car I’ve owned since then!!

lol

 

Brad

That would be the responsibilty of the front of house mixer. No?

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I wish Walk Like a Man and One Step Up had stayed in the 1988 setlists in Europe. In subsequent years and tours he's managed to play similarly intimate songs in the largest European stadiums - I sure we could have been suitably quiet then too.

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