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Which Bruce song are you listening to right now?


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20 minutes ago, jukebox said:

Hey, @Paolo's Circus Story - I didn't even know this existed.  But as an unrehearsed request... OMFG!

You know this is Essence, don't you?  :P

This? ESSENCE?

You're Goddamn right. 

So much ESSENCE, that there's a big moment in the History of the Hall coming up in the next few minutes. 

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Interestingly, I pulled out Live/75-85 today due to not hearing it for a while and to see how it held up. I was listening to the Japanese 5 CD version from 2008. It does sound pretty good. I do see where it is slightly overdone in regard to overdubbing of drums on the early portion. I wanted to hear how this sounded.

I do like the sequencing on the middle portion: Hungry Heart Two Hearts You Can Look and the section including the Nebraska stuff with Darkness and Racing.

Amazing to think this was his first Live album...now we have 28 full archive shows with another to be added Friday.

It would also be interesting to re-do this album to expand it to include so much left off...Jungleland and Prove it to be sure.

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4 hours ago, Buddhabone said:

 

It would also be interesting to re-do this album to expand it to include so much left off...Jungleland and Prove it to be sure.

This was discussed before...

For 'outtakes' from shows released in the Archive series, like 31.12.1980 and 20.8.1984, it would maybe be somewhat unnecessary.

For songs from shows not releasd in the Archive series  (yet), this website would explosie in 100,000 pieces all over Denmark because of all the furious reactions like 'WTF They have a professional recording of THIS show and THAT show and THAT show and they do NOT  release It? What are they doing? They are...' (etc.).

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On 7/6/2018 at 1:13 AM, ThePhisherman said:

I am listening to the latest Broadway recording, June 27. For all the sameness about this show, every show is so different both subtly and then not so subtle too. It is not like listening to the same show every time. I can't get enough of these.

Hey I need a couple of those .... I figure it’s gonna be released anyway soon. Anyway, let me know if you can a good audio over ... thanks.

 

Brad

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7 minutes ago, BruceHistory said:

Hey I need a couple of those .... I figure it’s gonna be released anyway soon. Anyway, let me know if you can a good audio over ... thanks.

 

Brad

The best recording is Jan 9  but June 27 is by far the best recorded performance. I think you need both and the video from Jan 19 and probably the Jan 11 videos too. 

 

And you figure what is going to be released soon?

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2 hours ago, ThePhisherman said:

The best recording is Jan 9  but June 27 is by far the best recorded performance. I think you need both and the video from Jan 19 and probably the Jan 11 videos too. 

 

And you figure what is going to be released soon?

Thanks buddy! Anyway for you to get me those?

Their gonna release a ‘Broadway’ show for HBO next year. Wouldn’t you think? I feel that would be a good way to share it with those of us who didn’t get there. In fact, it’s the first tour (if you wanna call it that) that I’ve missed since ‘River/80’; as I wasn’t old enough yet to catch the Hollywood, Florida gig in 2/81.

Whatever help you can do; thanks!

 

Brad

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Wings for Wheels .... Angelina's dress sways! 

 

1975-02-05 - THE MAIN POINT, BRYN MAWR, PA

INCIDENT ON 57TH STREET (8.10) / MOUNTAIN OF LOVE (2.56) / BORN TO RUN (4.15) / THE E STREET SHUFFLE - HAVING A PARTY (12.26) / WINGS FOR WHEELS (5.34) / I WANT YOU (6.00) / SPIRIT IN THE NIGHT (5.52) / SHE'S THE ONE (5.50) / GROWIN’ UP (3.10) / IT'S HARD TO BE A SAINT IN THE CITY (3.18) / JUNGLELAND (9.26) / KITTY'S BACK (11.10) / NEW YORK CITY SERENADE (16.58) / ROSALITA (COME OUT TONIGHT) (10.09) / 4TH OF JULY, ASBURY PARK (SANDY) (6.17) / A LOVE SO FINE - SHOUT (7.13) / FOR YOU (7.03) / BACK IN THE U.S.A. (6.17)

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Nebraska.

Very simplified: relationships forms the basis of human existence. And we are born into a very special kind of relationships: "I was born in the valley where you are raised to do what the father did". These relationships are rigid ties that bind: they assigns us a place and a code of action, but a place and a code that we have not chosen and not created. They surely give the individual a place in society, but no real recognition. When the boy got the girl with pregnant (as it is called in this already made world) he will no doubt marry her; the wedding is of course without joy and happiness. At work you perform what is prescribed by others and by these others' machines and organization of work. Unemployment affects you as a natural disaster. You buy or is longing to buy what others buy or long to buy. These stiff ties that bind gives you an existence, but they deprives you of a recognition based on your own decisions and self-chosen actions. Of course, some of us can perhaps escape this world: a young man or woman can, lets say, become a rock star, but we, who are left behind, have to create a new world: the promised land, in which no one is left behind. As it is now, man and women to often is denied a real, mutually recognized life. They feel an emptiness inside: they are not anyone who is seen, treated with respect and who is recognized for what they say and does. These ties thus bind mankind to an existence, but one that she know is not her true existence.
Therefore, there are those who will turn against these rigid ties that bind. Some leave those ties, but only to find themselves more and more lonely and, because relationships with other people truly are the basis for her existence, in a state where the self is threatened by dissolution. These people therefore hunger for something or someone who can reconnect to the ties that bind to an existence. Their retreat from the ties that binds was of course a hidden criticism of these ties. The one, who in words articulate this criticism and saves these existential criminals from being reduced to simply killers and car thieves, is none other than - the poet.

The heros themselves are not liberated, they all meet a tragic end. They can not reconnect to the ties that bind. They must remain true against themselves. Hence they reconnect to the ties that binds by breaking them. They commit the crime they hope will tie them back to the straps. And so we meet the lonely man who go through the darkness of loneliness in an unrestrained night in a stolen car, hoping for nothing, just wishing that the police will catch him and return him into the ties that binds. They all are the hero, who asks for mercy and to be be redeemed from this nothingness, that threatens to swallow him.
But then there are also those who so completely unleash the ties that bind, that they dissolve themselves as moral and ethical beings. They have lost all feelings of other people and can only use a brutal crime as a means of reconnecting to society's ties. One such a hero is driving with a girl through the badlands, killing 10 innocent people. For him, the killing of real ties to other real people is the way for him, who has grown up in the ultimate care of rigid ties and hence lacks a real perception of himself and his human fellows, to in other peoples eyes see, that he is some one; and in this case he really becomes one: society's enemy number one. Now at last is he someone to count on. The girl was during the ride his audience, and in her eyes he saw himself as the one who does nor belong to this society, that is - just the societies view of him. Now he is even. He is to himself, what he is to others. He is true. But later on, she as an audience has been replaced by police officers, journalists, court hearers, jury, judge and by prosecutors and defense lawyers who look at the hero and in him sees, not the truth of the society that they themselves are defending, but just simply as a brutal killer.

After an almost vehement car race, in which both the killer and the two policemen know what roles they are expected to play, and after the hero has been arrested, one police asks the other: "Does he not look like James Dean?". Our hero laughs happily. In the end, the hero really has managed to reenter the ties via the detour of 10 murder; he is back in the ties that binds, even if those ties only are the tight leather straps that tie him to a last glorious moment of existence - in the electric chair.

But now it's night in prison. The hero tell his story to someone else. This other is now his audience. He begins his story with what seems to be a regular event. The girl stood on the lawn, they took a ride in the car. Then: 10 innocent people died. He does not say that he murdered them. That's what he says next. Is the hero meanwhile looking on the other, trying to figure out what he thinks and knows? No reaction? Then the horrendous: "From Lincoln, Nebraska to ... I killed everything in my way." Now it is acknowledged. Again: does the hero search a reaction in the face of the other? Does he try to see how he reacts to this brutal acknowledgment? Does he respond? Or does he not? Is he just sitting calmly in his own security, knowing that it is not he who will be executed? Is it because he wants the other really to see him, see him at all as a human being, he adds the almost inhuman macabre words: "I'm not sorry for what we did, at least for a while we had some fun ". Then some neutral words about the jury's outcome, and the judge's verdict. Then the hero makes a wish to the other. - He wants to the girl to sit in his lap when he is executed! We can guess, that by this in the eyes of the badlands absurd wish, the other is confirmed in his view, that the hero is not human. But he does not know, as we do know, that what he once had in his lap was a gun that eliminates relations, and when he say, that he wish to have the girl in his lap when he is executed, he is really saying, that he regrets killing, people and their relations, that he now sees the glory of ties to human fellows, but also that all the ties he would like to bind, will be killed, when he himself is killed. But in the end, in jail humanity is also jailed. He continues: "They wanted to know why I did what I did". No one has ever seen or understood him as a human being. By killing other people, he became somebody, but only a man of emptiness. Stardom by slaughter is a career, but often not a long one. And the judge and jury sentenced him to death. They declared him unfit to live. They promised to throw his soul into the void he and the car thief and all the other existential heroes already existed and exist in. They demanded, that he would explain why he did that he did. His answer: "Well, I suppose there's way too much meanness in this world (of badlands)" is of course a confession of his own guilt, but also a pointing to the guilt of all those who never treated him or the ones like him as a human, including the policemen who found him to look like James Dean, the jury and the judge who just saw the guilt of the hero, but was blind for their own guilt, the other in the prison who refused to see the man in the murderer, to see his desperate attempts to reach a dialogue between TWO people. No one in the badlands can possibly see the human being (i.e themselves) in the killer.

For that wonder, the Poet of the Promised Land is needed.

 

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16 hours ago, ulfhpersson said:

Nebraska.

Very simplified: relationships forms the basis of human existence. And we are born into a very special kind of relationships: "I was born in the valley where you are raised to do what the father did". These relationships are rigid ties that bind: they assigns us a place and a code of action, but a place and a code that we have not chosen and not created. They surely give the individual a place in society, but no real recognition. When the boy got the girl with pregnant (as it is called in this already made world) he will no doubt marry her; the wedding is of course without joy and happiness. At work you perform what is prescribed by others and by these others' machines and organization of work. Unemployment affects you as a natural disaster. You buy or is longing to buy what others buy or long to buy. These stiff ties that bind gives you an existence, but they deprives you of a recognition based on your own decisions and self-chosen actions. Of course, some of us can perhaps escape this world: a young man or woman can, lets say, become a rock star, but we, who are left behind, have to create a new world: the promised land, in which no one is left behind. As it is now, man and women to often is denied a real, mutually recognized life. They feel an emptiness inside: they are not anyone who is seen, treated with respect and who is recognized for what they say and does. These ties thus bind mankind to an existence, but one that she know is not her true existence.
Therefore, there are those who will turn against these rigid ties that bind. Some leave those ties, but only to find themselves more and more lonely and, because relationships with other people truly are the basis for her existence, in a state where the self is threatened by dissolution. These people therefore hunger for something or someone who can reconnect to the ties that bind to an existence. Their retreat from the ties that binds was of course a hidden criticism of these ties. The one, who in words articulate this criticism and saves these existential criminals from being reduced to simply killers and car thieves, is none other than - the poet.

The heros themselves are not liberated, they all meet a tragic end. They can not reconnect to the ties that bind. They must remain true against themselves. Hence they reconnect to the ties that binds by breaking them. They commit the crime they hope will tie them back to the straps. And so we meet the lonely man who go through the darkness of loneliness in an unrestrained night in a stolen car, hoping for nothing, just wishing that the police will catch him and return him into the ties that binds. They all are the hero, who asks for mercy and to be be redeemed from this nothingness, that threatens to swallow him.
But then there are also those who so completely unleash the ties that bind, that they dissolve themselves as moral and ethical beings. They have lost all feelings of other people and can only use a brutal crime as a means of reconnecting to society's ties. One such a hero is driving with a girl through the badlands, killing 10 innocent people. For him, the killing of real ties to other real people is the way for him, who has grown up in the ultimate care of rigid ties and hence lacks a real perception of himself and his human fellows, to in other peoples eyes see, that he is some one; and in this case he really becomes one: society's enemy number one. Now at last is he someone to count on. The girl was during the ride his audience, and in her eyes he saw himself as the one who does nor belong to this society, that is - just the societies view of him. Now he is even. He is to himself, what he is to others. He is true. But later on, she as an audience has been replaced by police officers, journalists, court hearers, jury, judge and by prosecutors and defense lawyers who look at the hero and in him sees, not the truth of the society that they themselves are defending, but just simply as a brutal killer.

After an almost vehement car race, in which both the killer and the two policemen know what roles they are expected to play, and after the hero has been arrested, one police asks the other: "Does he not look like James Dean?". Our hero laughs happily. In the end, the hero really has managed to reenter the ties via the detour of 10 murder; he is back in the ties that binds, even if those ties only are the tight leather straps that tie him to a last glorious moment of existence - in the electric chair.

But now it's night in prison. The hero tell his story to someone else. This other is now his audience. He begins his story with what seems to be a regular event. The girl stood on the lawn, they took a ride in the car. Then: 10 innocent people died. He does not say that he murdered them. That's what he says next. Is the hero meanwhile looking on the other, trying to figure out what he thinks and knows? No reaction? Then the horrendous: "From Lincoln, Nebraska to ... I killed everything in my way." Now it is acknowledged. Again: does the hero search a reaction in the face of the other? Does he try to see how he reacts to this brutal acknowledgment? Does he respond? Or does he not? Is he just sitting calmly in his own security, knowing that it is not he who will be executed? Is it because he wants the other really to see him, see him at all as a human being, he adds the almost inhuman macabre words: "I'm not sorry for what we did, at least for a while we had some fun ". Then some neutral words about the jury's outcome, and the judge's verdict. Then the hero makes a wish to the other. - He wants to the girl to sit in his lap when he is executed! We can guess, that by this in the eyes of the badlands absurd wish, the other is confirmed in his view, that the hero is not human. But he does not know, as we do know, that what he once had in his lap was a gun that eliminates relations, and when he say, that he wish to have the girl in his lap when he is executed, he is really saying, that he regrets killing, people and their relations, that he now sees the glory of ties to human fellows, but also that all the ties he would like to bind, will be killed, when he himself is killed. But in the end, in jail humanity is also jailed. He continues: "They wanted to know why I did what I did". No one has ever seen or understood him as a human being. By killing other people, he became somebody, but only a man of emptiness. Stardom by slaughter is a career, but often not a long one. And the judge and jury sentenced him to death. They declared him unfit to live. They promised to throw his soul into the void he and the car thief and all the other existential heroes already existed and exist in. They demanded, that he would explain why he did that he did. His answer: "Well, I suppose there's way too much meanness in this world (of badlands)" is of course a confession of his own guilt, but also a pointing to the guilt of all those who never treated him or the ones like him as a human, including the policemen who found him to look like James Dean, the jury and the judge who just saw the guilt of the hero, but was blind for their own guilt, the other in the prison who refused to see the man in the murderer, to see his desperate attempts to reach a dialogue between TWO people. No one in the badlands can possibly see the human being (i.e themselves) in the killer.

For that wonder, the Poet of the Promised Land is needed.

 

Thanks but I can't get through it! Hurts my eyes :wacko:

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