U N C L E *B R U C E* S P R I N G S T E E N *

ahitchhikerinmyrvm

Today Show on megaupload...

Promised Land
http://www.megaupload.com/?d=AV5W2HKN

Radio Nowhere
http://www.megaupload.com/?d=JKZDVND7

Last To Die
http://www.megaupload.com/?d=4XOCJBB9

Living In The Future
http://www.megaupload.com/?d=D2VWKG99

My Hometown
http://http//www.megaupload.com/?d=WR20Y427

Night
http://www.megaupload.com/?d=MR936639

Long Walk Home
http://www.megaupload.com/?d=49ACTURL

Artwork (thanks to ramrod75):
http://img341.imageshack.us/my.php?image=20070928todayfrontut5.jpg
http://img222.imageshack.us/my.php?image=20070928todaybackwt2.jpg

musicismylife78

additionally can someone illuminate me on Devil's arcade. In articles, i have read that this is one of the albums most overt political songs. Yet I cant make out anything in the lyrics that relate to the current world situation or the war.

am i missing something?

TrixieCat

ahitchhikerinmyrvm wrote:

September 25 Rehearsal Show in Asbury Park

http://www.megaupload.com/?d=LSM1N04G

artwork:
rtwork:
http://www.bruceboots.com/MAGIC/Artwork/20070925-Livemusicman/20070925-Livemusicman-Booklet1.jpg
http://www.bruceboots.com/MAGIC/Artwork/20070925-Livemusicman/20070925-Livemusicman-Back.jpg

Thank you!


I just found out today that I won't know if I am going to the MSG show until probably the day of. Ooh...the anticipation....

ahitchhikerinmyrvm

TrixieCat wrote:

Thank you!


I just found out today that I won't know if I am going to the MSG show until probably the day of. Ooh...the anticipation....

I'm going to the Hartford show (in only 3 days) and 2nd Boston show. Wish I could afford to to go to more, but at $100 a ticket, it's difficult.

Enjoy!!

ledvedderman

radiohead33 wrote:

additionally can someone illuminate me on Devil's arcade. In articles, i have read that this is one of the albums most overt political songs. Yet I cant make out anything in the lyrics that relate to the current world situation or the war.

am i missing something?

I think that it is about a soldier that has come home from Iraq and is thinking about his friends that didnt come home. The war in Iraq is the US administrations playground...aka The Devils Arcade.

I think the line that sums up that song is, "somebody made a bet, somebody paid"

Bathgate66

ahitchhikerinmyrvm wrote:

September 25 Rehearsal Show in Asbury Park

http://www.megaupload.com/?d=LSM1N04G

artwork:

http://www.bruceboots.com/MAGIC/Artwork/20070925-Livemusicman/20070925-Livemusicman-Booklet1.jpg
http://www.bruceboots.com/MAGIC/Artwork/20070925-Livemusicman/20070925-Livemusicman-Back.jpg

From Geasylake

awesome !


today - 9 am !

Bathgate66

E Street Band


Secret Garden

Murder Incorporated * How Good Would Pearl Jam sound covering this one ? Stone & Mike alternating riffs !

Bathgate66

TrixieCat wrote:

Yes, it was awesome. I loved the guy in the wheelchair...so happy to be alive.
Bruce rocks my world.
Hopefully I will find out tomorrow about msg.

if you folks all saw the " 1st Row Passion Man " at The Today Show

heres an interesting thread dedicated to him .



good read !

Bathgate66

[size=+3]"Bruce Springsteen is back in the masterpiece business" [/size]

by Chris Willman

''Have a little faith/There's magic in the night,'' Bruce Springsteen sang on 1975's ''Thunder Road.'' And for keeping the faith along the decades of back roads and stylistic detours, fans get their beautiful reward with Magic, his best record since The River in 1980. If such devotees assumed that the new album's title was a nod to rekindling the tattered romanticism of his salad days, they wouldn't be wrong. Magic marks only the second instance in more than two decades that Springsteen has made a studio CD with the E Street Band — and unlike the last reunion, he's not resisting their signature sound. Synths get a breather so Roy Bittan can return to those classic piano arpeggios; stirring key changes are again signaled by Clarence Clemons' sax solos; arena-friendly sing-alongs arrive in quick succession. If you were raised on this stuff, you may experience the giddy sensation that the world has been set aright again.

So why is Springsteen looking so damned surly on the cover? You didn't really expect a guy who devoted his recent career to sober fare like Devils & Dust to completely recalibrate his political serotonin levels, did you? In the tradition of Born in the U.S.A., the celebrative group spirit is also a buffer for his dark materials. Springsteen's sour expression is merely the first hint that his CD's simplistic name is actually a double entendre. When the spooky title track finally arrives, he's playing the part of an enigmatic illusionist who seems a little too eager to ''cut you in half, while you're smilin' ear to ear.'' It turns out Springsteen was also thinking of magic in the sense of smoke and mirrors, as favored by snake-oil salesmen and senators alike. You don't need a semiotics degree to guess that he's getting allegorical about leaders using the War on Terror to pull off some sleight of hand. That becomes clear in songs such as the soldiers' elegy ''Gypsy Biker,'' which includes asides like ''The speculators made their money on the blood you shed.'' Note to self: World not set aright after all, despite reassuring Danny Federici organ fills.

There is no trickery, however, to the naturalness of the band vibe here. On 2002's emotional but musically uneven The Rising, you could sense everyone straining with producer Brendan O'Brien to figure out how to bring the E Street Band into the 21st century — then finally arriving at what felt like a Springsteen ''solo'' album that happened to graft in the old gang. But Magic, also produced by O'Brien, gets it right from the start by mostly ditching recent rootsy flavorings for a compressed wall of sound. Sometimes that wall is gorgeously Spectorian, as with the glockenspiel-and-timpani-adorned pop stunners ''Girls in Their Summer Clothes'' and ''Your Own Worst Enemy,'' which Springsteen delivers in a tender, rasp-free register barely heard since ''Born to Run.'' Sometimes it's a garage wall, as on ''Radio Nowhere,'' which gives axman (and ex- Sopranos hitman) Little Steven a cranky guitar blowout to play, unapologetically, on his garage-rock radio show.

If there's another ''Glory Days'' here — an inevitable concert standby that Bon Jovi will spend the next decade trying to rip off — it's ''Livin' in the Future,'' an insanely jubilant celebration of denial as a coping mechanism. ''None of this has happened yet,'' the gleeful choruses insist as Clemons wails on his horn and everyone joins in a ''na-na-na-na-na'' cheer. This, despite almost apocalyptic verses about how the singer's ''faith's been torn asunder'' by both his girl and his country. That's one of many Magic passages where it's intriguingly, purposely unclear whether Springsteen is describing wartime malaise and social dystopia or simply a bust-up between lovers.

No album could say more about the uncertain national mood of 2007, though that's only part of the set design. Springsteen's topical allusions are unspecific enough that Magic will remain enchanting after we get these American messes straightened out, in 5, 10, 50 years. Still, he does finally bring the war to the fore in the climactic ''Devil's Arcade,'' and an album that began with Bruce yelling ''Is there anybody alive out there?'' ends on real matters of life and death. This big, slow-building ballad finds a young woman visiting her beloved in a military hospital, whispering promises of an idyllic suburban future and finally repeating the line ''the beat of your heart'' over and over, as if that very incantation could keep him tethered to the corporeal world. It's a moment that will break even a hardened rock fan's heart. But by then your resolve might already be melting from the realization that, three and a half decades into his career, Bruce Springsteen is back in the masterpiece business. A +

Bathgate66

Chris Willman has amended his review with track-by-track analysis at EW.com:

http://popwatch.ew.com/popwatch/2007/10/bruce-springste.html#more

Here's the text:

If you've been absorbing the various critical and fan accounts of Bruce Springsteen's brilliant new record, Magic (including my own, which you can read here), you may feel torn about just what kind of expectations you're supposed to bring when the CD arrives in stores Tuesday. Is it a pure, giddy blast of band-oriented fun — a grand, spirited, hard-rocking return to the E Street glory days that finally gives the fans what they've been wanting ever since Born in the U.S.A.? Or is it a dark, somber, even grimly political piece of work that soberly zeroes in on disillusionment and the downfall of American idealism?

Well, geez, can't it be both? It is, and that, really, is the magic of Magic. But fans will see in it what they want to see in it. Friday morning, playing a live set on Today, Springsteen introduced the new song "Livin' in the Future" with a long rant that started on the jocular side, before he veered off into a laundry list of wrongs — "rendition, illegal wiretapping, voter suppression, no habeas corpus, the neglect of our great city of New Orleans and her people, an attack on the Constitution, and the loss of our best young men and women in a tragic war" — to which the deceptively celebrative-sounding song is really alluding. "This is a song about things that shouldn't happen here happening here," he told the crowd. You can see footage of the performance if you go to this page at MSNBC.com. But ironically, on that same page is a link to MSNBC's review of the album, headlined "The Boss abandons the message albums of the past to have fun with friends," bizarrely claiming that you won't need to worry about any of that pesky social consciousness stuff this time around. Ironic, right?

There's so much substance to Magic that, in addition to my A-grade review, I thought I'd pop up on PopWatch to offer a track-by-track preview of the album:

1. "Radio Nowhere." Everyone already knows this one, since it's been available free online as a teaser for weeks. The main complaint fans have had about it: It fades out too soon — but the entire album has that economical, leave-'em-wanting-more ethos. Here, Springsteen sets up the themes of searching and disillusionment that will characterize the album without tieing them too strictly to topical events (yet). The E Street Band's phalanx of guitarists has probably never indulged in such a three-pronged attack before. And you'll notice that a key change kicks in at the beginning of Clarence Clemons' sax break — only to have the tune revert back when he's done. Actually, that same Big Man key-change gambit is pulled on the next two songs, too. But (speaking of magic) even if you know how the trick is done, it still doesn't ruin the effect.

2. "You'll Be Comin' Down." Unless Springsteen is getting even more allegorical on us than we imagine, this is one of the songs that isn't about America, but just an American girl. But it's no ode, as such; in the great tradition of artists like Dylan and Costello taking the piss out of an in-vogue beauty who's gotten a little too big for her britches, he warns: "You'll be fine as long as your pretty face holds out/Then it's gonna get pretty cold out."

3. "Livin' in the Future." If any song here is destined to become a concert favorite, it's this one, which fans who've gotten an early listen have compared to "Tenth Avenue Freezeout" (even though there's no horn section on this or any other Magic track). But Bruce hasn't been making any bones about the fact that the lyrics are designed as a distinct political critique, and one fan already posted after the Today appearance that Bruce's "rant" had "ruined 'Livin' in the Future' for me forever." You could still take this as a song about a relationship gone wrong, but it seems clear that, if you get a ticket for his coming tour, this is going to be the number where he does a little preaching and lets his progressive freak flag fly.

4. "Your Own Worst Enemy." Self-loathing never sounded so gorgeous as in this, the first true timeless classic of the album. The string arrangement might have you drawing comparisons as far back as the Left Banke's "Walk Away, Renee," though you'll hear some harmonies redolent of the Beach Boys when it gets to the bridge, too. But don't let the prettiness fool you: This is the perfect song, when you realize that you've completely #@&*-ed up, to flog yourself by. What sins the narrator has committed that convince him he's his "own worst enemy" remain unclear, though there are hints that it may have been some kind of personal infidelity or betrayal ("Once the family felt secure/Now no one's very sure"). It's chillingly lonely... and just a little bit transcendent, too, as the realization kicks in that — OMG!!!! — Bruce is back to writing unabashed Pop Music here.

5. "Gypsy Biker." Maybe the saddest song he's ever written — and one of the fiercest and hardest rocking. On first listen, you might not catch that the biker of the title is, in fact, a dead soldier whose buddies have gathered to celebrate him. A gleaming bike does show up, which the friends take out into the desert and set on fire, as a sort of funeral pyre. If that isn't "Born to Run" all grown up and gone to hell, I don't know what is. When the guitar solo kicks in, it's wrenchingly elegiac in a deep, primal way, almost like a dog howling to mourn its late master.

6. "Girls in Their Summer Clothes." Suddenly, Springsteen's no longer mourning a deceased soldier but his own lost youth, in the closest thing to an escapist song on the album. Fresh from a breakup, the narrator heads out to do some girl-watching, and if he might be overly optimistic about the chances of one of those sweet young things stopping to heal him, the sense of longing and tactile descriptions of a lively street scene are still intensely romantic. The Phil Spector/Pet Sounds influences return in a big way for the second time on the album, and you may hear a hint of the Who's "The Kids are Alright" in the verse's melody line, too. If they'd reissued Born to Run with this as a bonus track, claiming it was a long-lost outtake that had always been meant to follow the title song in the running order, you'd have probably swallowed it.

7. "I'll Work for Your Love." The one truly upbeat lyric here, and the most peculiar. Springsteen serenades a barmaid named Theresa, with devotion that crosses the line into pure worship — so much so that the verses are filled with hilariously over-the-top religious imagery. ("I'll watch the bones in your back like the stations of the cross... The pages of Revelation lie open in your empty eyes of blue... tears they fill the rosary, at your feet my temple of bones.") Some fans have read into this that the song might actually be about St. Theresa, but don't take the Catholic imagery too far, kids — this is the album's one moment of pure, unbridled, joyful lust. And it's Magic's fourth instant classic in a row.

8. "Magic." You could almost divide the album into two parts, with tracks 1-7 being in a classic E Street vein and 8-12 (counting the unlisted bonus track) more closely resembling one of his solo albums. Certainly things shift more overtly toward the political at this point, though you'd be right to point out that the earlier "Livin' in the Future" and "Gypsy Biker" lyrically belong in this camp, as well. The title track is really its only slow one, as Springsteen takes on the character of an apparently sinister sleight-of-hand man who may or may not have deep connections with the current administration. It's not one of the album's great songs, but it is invaluable in bridging the two types of magic on the album — the enchantment of being out on the street ("Girls in Their Summer Clothes" has a reference to "Magic Avenue"), versus the so-called "black arts" of politics and war.

9. "Last to Die." The chorus borrows a famous line from Vietnam-era John Kerry: "Who'll be the last to die for a mistake?" As the most polemical song on the album, it's in danger of stating its intent a bit too literally, compared with the artful double entendres found elsewhere in Magic's social commentary. Yet the personal imagery strewn through the song brings it back to earth and saves it: A couple seem to be on a road trip with their kids, experiencing news reports of the war along the way to "Truth or Consequences" (presumably both the New Mexico town and a more metaphorical place). And it's possible to imagine that the references to untended dead bodies refer to skeletons in their own closet as well as, literally, the Iraq situation.

10. "Long Walk Home." There's a kind of magic realism at work here, as Springsteen walks through familiar hometown streets, full of signposts that should be comforting, and yet finds that the people are "all rank strangers to me." That's a brilliant reference to the Stanley Brothers' gospel song "Rank Strangers" (covered by Dylan on a 1988 album), where the narrator, newly beholden to God, returns to a home base that no longer means anything to him. Only in this case, it's presumably divisions over the War on Terror that have the narrator feeling estranged from the people he once loved. This is the one song on the album that Springsteen had previously premiered live, on his Seeger Sessions tour, and there (as you'll see if you dig up the bootleg video on YouTube), it went on for a couple more angrier verses. But it ends perfectly now, with the character remembering some once-comforting words from his father — "You know that flag flying over the courthouse/Means certain things are set in stone/Who we are, what we'll do and what we won't" — and just leaving the indictment that might follow that unspoken and implicit.

11. "Devil's Arcade." Interpretations of this lyric — the one true story-song on the album — vary. But it seems to be sung by a woman to a soldier recovering (or not) from grave wounds suffered in a bombing in Iraq: She remembers their first fumbling sexual experiences and looks forward to a sensual, sunny breakfast when, once again, he'll be able to experience Morning in America. We don't know whether her hope in his recovery is misplaced or not.

12. "Terry's Song." The previous song makes such a stunning climax that you'd logically want it to end there, but as a celebrative funeral song, this unlisted bonus acoustic track certainly does make for an appropriate segue out of the hospital-set "Devil's Arcade." "When they made you, brother, they broke the mold," Bruce sings, in a number bound to be played at countless funerals in the coming decades. And just when you thought the mold had been broken on albums as great as Darkness on the Edge of Town, Springsteen is back, combining that early spirit with a level of writing that can only come from real maturation, ready to show us that he can not only prove it all night but prove it all life.

Bathgate66

[size=+2] Who’ll be the next Springsteen? [/size]
(Buffalo News)

---

http://www.buffalonews.com/entertainment/story/173599.html

News Pop Music Critic Jeff Miers explores the popularity, success and musical influence of “ The Boss” in a quest for the answer
Who’ll be the next Springsteen?

By Jeff Miers
Updated: 09/30/07 9:27 AM

After Bruce Springsteen signed his first record label deal, he was marketed as 'the next Bob Dylan.' He was horrified by it. More Photos


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'Magic': A stinging commentary on the state of rock ’n’ roll

When Bruce Springsteen signed his first (and only) record deal, with John Hammond at Columbia Records, he was a scruffy bohemian songwriter and a weathered performer who’d been kicking around the New Jersey club scene for years. The kid had no idea he’d be marketed as the “next Bob Dylan,” and it is now a matter of record that he was horrified by the whole idea.

It is the nature of music journalism to do to today’s up-and-coming artists exactly what it did to Springsteen 35 years ago, with the “next Dylan” tag. Who, one wonders, is the “next Springsteen”? Will there be one? Can there be one? Does it even matter anymore?

The Dylan hype almost derailed the Springsteen train before it left the station. His first two albums, “Greetings from Asbury Park, N.J.” and “The Wild, the Innocent & the E Street Shuffle,” were bold, strong and overflowing with both imagination and ambition, but even as Springsteen and his E Street Band were setting new standards for the live performance of rock ’n’ roll on a nightly basis, neither record sold very well.

It was while touring behind “E Street Shuffle” that Springsteen so inspired then-rock critic Jon Landau with his command of the stage that Landau penned his famous “I’ve seen the future of rock ’n’ roll, and its name is Bruce Springsteen” piece, which ran in his “Loose Ends” column in the May 22, 1974, edition of The Real Paper.

Within 18 months of Landau’s review hitting the streets, he was Springsteen’s manager, and the frenzy surrounding the release of “Born To Run” included simultaneous cover stories in both Time and Newsweek.

This kind of hype is not unusual today, but it certainly was then. Naysayers wanted the desperate, heart-on-sleeve songwriter to fall on his face, thereby justifying their cynical belief that this whole “next Dylan” thing was nonsense, a mass-marketing pitch cooked up in a boardroom somewhere. It wasn’t.

Springsteen didn’t so much capture the zeitgeist as suggest a new, alternative one that posited rock ’n’ roll as an agent of salvation. He was both a classicist and a Romantic, his music a unique blend of Roy Orbison, Van Morrison, Phil Spector, Bob Dylan and the Rolling Stones, primarily, but his widescreen passion and unwavering belief in the transformative powers of that music was unique, and near-religious.

John Lennon told us “a working class hero is something to be,” but his relatively affluent upbringing in the suburbs stood in contrast to Springsteen’s stark lower-class reality. Springsteen seemed like the salt of the earth, but he was also a poet.

As the ’60s faded into memory and their idealism became routinely filed in the “failed experiment” bin, Springsteen represented hope. He manifested possibility for the music’s future. He spoke of rock as a transcendent entity. And his records have delivered on this promise – some fully, a few less so – ever since.

Lennon sang about a working class hero; Springsteen sang in the voice of an authentic one.

Springsteen is an iconic figure whose body of work represents a high standard for any rock artist working in his wake. As a classicist, much of Springsteen’s genius can be located in the way he manipulates the raw materials of his initial inspiration. He never tried to reinvent the wheel in terms of composition.

This rooted his art, made it relatively easy to understand, at least on the surface. (It also encouraged some misunderstandings that plague Springsteen to this day, Ronald Reagan’s being only one of many.)

Part of Springsteen’s importance comes from the fact that he made it, begrudgingly, into the mainstream without sacrificing the integrity of his art.

Plenty of significant artists toil in the underground and alternative worlds. In a sense, it’s safer there, where you’re surrounded by like-minded listeners not likely to misinterpret your artistic intent. But Springsteen believed in rock ’n’ roll’s populist possibilities, believed that there could and should be a mass, shared, meaningful event, a true communion between artist and listener, and a broad discourse with the culture writ large.

When faced with this “next Springsteen” business, I become immediately defensive. Springsteen is the next Springsteen, I sniff.

The record business that allowed him to speak meaningfully to a large group of listeners at once has been dismantled and sold for scrap. How is anyone going to reach a generation with one broad stroke via the Internet, without radio? How can an artist build a reputation based on live performance when live performance is, outside of a few niche pockets, no longer valued? How can an artist say something of meaning if no one ever hears it, and those who do aren’t really listening anyway?

These questions remain unanswered, for me. My default setting of quiet despair is tempered, however, by an optimism, and its the same guarded optimism that, I believe, a quarter century of serious Springsteen listening has planted in me.

So, while on the one hand it seems that you can’t “un-destroy” the record business much as you can’t “un-invade” a country, on the other, one hopes that popular music might in fact right itself over time. There is never a shortage of bold art born of conviction and honed by talent and dedication. It’s going on all the time, in cities just like (and including) Buffalo. We might not ever hear any of it. But then again, we might.

I believe there have already been a few “next Springsteens,” which is not to say that there have been artists who sound like him, or even perhaps display evidence of his influence. They are like him, though, in their conviction, their passion and in their unwavering belief that the music actually means something.

U2. R.E.M. Jeff Buckley. Kurt Cobain had the chance, but blew it. Eddie Vedder and Pearl Jam have done it, without a doubt. Wayne Coyne of the Flaming Lips is a Springsteen- like figure to me, as odd as that might sound. All of these artists have been able to tap into something universal, something that might have real meaning even when applied to massive numbers of listeners.

But who among the crop of artists who’ve emerged since the turn of the century fits the bill? I can think of only one: Arcade Fire.

There isn’t a whole lot of Springsteen in the group’s sound at first listen. But closer study reveals similarities in terms of orchestration, production and emotional intent. Arcade Fire is considered an alternative band, but clearly, the group’s sound is both anthemic and transcendent, the way “Born To Run’s” sound was (and is).

Led by singer and guitarist Win Butler, the Arcade Fire mined transcendent gold in 2005 with “Wake Up,” an emotion-charged anthem that became the introduction music throughout U2’s “Vertigo” tour, and earned the band ecstatic critical plaudits the world over.

Critical devotion and not inconsiderable “hype” aside, what makes the Arcade Fire my “next Springsteen” is the near-religious reaction the band’s music pulls from the listener. It’s a big, bold, transformative sound, one that is redolent of hope.

The band’s recent “Neon Bible” album more than delivered on the promise of the debut, “Funeral.” If “Neon Bible” is the band’s “The Wild, the Innocent & the E Street Shuffle,” then I, for one, can’t wait to hear what its “Nebraska” sounds like.

The Arcade Fire’s music encourages cautious optimism, the slightly reserved belief that rock music might again be both populist and meaningful.

If the band fails or falls apart, well, we’ve still got the real Springsteen.

jmiers@buffnews.com

LedZepFan

thanks for that review bathgate...


i heard 'gypsy biker' on sirius on the way home today...this album seems like it's going to be amazing

Bathgate66

LedZepFan wrote:

i heard 'gypsy biker' on sirius on the way home today...this album seems like it's going to be amazing

5. "Gypsy Biker." Maybe the saddest song he's ever written — and one of the fiercest and hardest rocking. On first listen, you might not catch that the biker of the title is, in fact, a dead soldier whose buddies have gathered to celebrate him. A gleaming bike does show up, which the friends take out into the desert and set on fire, as a sort of funeral pyre. If that isn't "Born to Run" all grown up and gone to hell, I don't know what is. When the guitar solo kicks in, it's wrenchingly elegiac in a deep, primal way, almost like a dog howling to mourn its late master.



on a lighter note,
i received my CD / Lyric Book Bundle thru Backstreets.Com Shop--
i scanned the images, check these out:













<---- What A Band !

Bathgate66

go gettem !

http://www.ticketmaster.com/event/1D003F1DD829AEF2?artistid=860453&majorcatid=10001&minorcatid=1

TrixieCat

Bathgate66 wrote:

go gettem !

http://www.ticketmaster.com/event/1D003F1DD829AEF2?artistid=860453&majorcatid=10001&minorcatid=1

Right at this very moment you are my favorite person in the whole world!!!!!!!!!
I could only get one.
Who else is going tomorrow.
I am so excited I am about to pee my panties.
I love BRUCE!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

Bathgate66

TrixieCat wrote:

Right at this very moment you are my favorite person in the whole world!!!!!!!!!
I could only get one.
Who else is going tomorrow.
I am so excited I am about to pee my panties.
I love BRUCE!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

all you need is 1 then !

have a great time ( of course thats a given )

hit us up with a review afterwards !

TrixieCat

Bathgate66 wrote:

all you need is 1 then !

have a great time ( of course thats a given )

hit us up with a review afterwards !

I will!
I wasn't aware that it was opening night! How cool am I ???? I mean, really?

Out of the loop Trixie.
I can't tell you how thrilled i am. I am like a little kid.
Thanks again B! I never forget a favor.

Bathgate66

Rehearsal Night 2
Asbury Park Convention Hall 25/09/07

RADIO NOWHERE / PROVE IT ALL NIGHT / LONESOME DAY / GYPSY BIKER / MAGIC / NIGHT / SHE'S THE ONE / LIVIN' IN THE FUTURE / THE PROMISED LAND / TOWN CALLED HEARTBREAK (Patti song)/ DARLINGTON COUNTY / BORN IN THE USA / DEVIL'S ARCADE / THE RISING / LAST TO DIE / LONG WALK HOME / BADLANDS / GIRLS IN THEIR SUMMER CLOTHES / THUNDERCRACK / BORN TO RUN / AMERICAN LAND

Audience tape - Scheduled benefit rehearsal show.

http://www.megaupload.com/?d=WYH8X2WW

Remaster 25.9.07!!
sound upgraded and cleaned up significantly! sounds a lot better!
http://www.megaupload.com/?d=LSM1N04G

Here´s the 2nd rehearsal show for those who can´t download from Megaupload...

disc 1:
http://www.mediafire.com/?ami22ejaxzc
disc 2:
http://www.mediafire.com/?4lqbzxjmnnf

Artwork:
http://www.bruceboots.com/MAGIC/Artwork/20070925-Livemusicman/20070925-Livemusicman-Booklet1.jpg
http://www.bruceboots.com/MAGIC/Artwork/20070925-Livemusicman/20070925-Livemusicman-Back.jpg

StoneG82

really hope they release more tickets for the pittsburgh show.

I've been checking every day with no luck

:<

TrixieCat

Oh no...if he does Lonesome Day I will cry, in front of thousands of strangers. That is one of my favorite Bruce songs, but one I listen to by myself.