I'm downloading the Tampa bootleg now, i'm very excited to hear it!
I have a quick question regarding tickets...
I'm in the UK and a friend from Greece bought me a pair of tickets for the Manchester show on May 28th. So, how near to the show do tickets usually get sent out? I'm just hoping that there's enough time for him to receive the tickets and then send them out here to England before the show!
"This town deserves a better class of criminal... and I'm gonna give it to them."
So, I think I've actually convinced my mother to make the run down for one of the Giants Stadium shows!!!! I'm SOOOO excited!
Believe me, when I was growin up, I thought the worst thing you could turn out to be was normal, So I say freaks in the most complementary way. Here's a song by a fellow freak - E.V
TIME OFF? HA! THE BAND COMES TO THE BASIE
After wrapping up this spring North American leg of the Magic tour tomorrow in Ft. Lauderdale, Springsteen will be playing a smaller show closer to home less than a week later. Wednesday night's Count Basie Theatre benefit was originally billed as "An Evening with Bruce Springsteen." Now, we're anticipating "An Evening with Bruce Springsteen and the E Street Band," as Bruce plans to bring the whole crew to Red Bank for their first full theater show (the Basie holds roughly 1,500) since 1980.
For the ones who had a notion, a notion deep inside
That it ain't no sin to be glad you're alive
ORGAN DONATION SAVES LIVES http://www.UNOS.org
Donate Organs and Save a Life
we were at the show last night in ft. lauderdale...
it was truly amazing!!
i've read a few complaints online about the sound problems at the venue but we were in GA, standing directly on the gate of the soundboard and it sounded great (a few times the mics did screech though)
also the security getting in was ridiculous...
the lines were hundreds of people long and took forever.
however, the show, probably the 8th or 9th time I've seen him... was incredible.
and, oh yeah, my husband and I bought 2 tickets outside for a total of $70.
not bad
May 2, 2008
Ft. Lauderdale, Florida
Bank Atlantic Center
The Promised Land
I Wanna Be With You - Tour Premiere
Radio Nowhere
Out In The Street
This Hard Land
Gypsy Biker
Growin' Up
Candy's Room
Prove It All Night
She's The One
Livin' In The Future
Mary's Place
Girls In Their Summer Clothes
Devil's Arcade
The Rising
Last To Die
Long Walk Home
Badlands
Thunder Road
Born To Run
Rosalita
Tenth Avenue Freeze-Out
American Land
we were at the show last night in ft. lauderdale...
it was truly amazing!!
i've read a few complaints online about the sound problems at the venue but we were in GA, standing directly on the gate of the soundboard and it sounded great (a few times the mics did screech though)
also the security getting in was ridiculous...
the lines were hundreds of people long and took forever.
however, the show, probably the 8th or 9th time I've seen him... was incredible.
and, oh yeah, my husband and I bought 2 tickets outside for a total of $70.
not bad
May 2, 2008
Ft. Lauderdale, Florida
Bank Atlantic Center
The Promised Land
I Wanna Be With You - Tour Premiere
Radio Nowhere
Out In The Street
This Hard Land
Gypsy Biker
Growin' Up
Candy's Room
Prove It All Night
She's The One
Livin' In The Future
Mary's Place
Girls In Their Summer Clothes
Devil's Arcade
The Rising
Last To Die
Long Walk Home
Badlands
Thunder Road
Born To Run
Rosalita
Tenth Avenue Freeze-Out
American Land
Kitty's Back
WOW WOW WOW WOW WOW !!!!!!!
awesome set list. that must have been a great surprise when he came back out after american land to play kitty. on this tour, when he plays american land, that usually means thats it. it has been their yellow ledbetter on this tour.
jason isbell posted this on myspace. i only checked a few pages back but didn't see it here. apologies for length if it was already posted.
Bruce Springsteen’s Eulogy for Danny Federici
FAREWELL TO DANNY
Let me start with the stories.
Back in the days of miracles, the frontier days when "Mad Dog" Lopez and his temper struck fear into the band, small club owners, innocent civilians and all women, children and small animals.
Back in the days when you could still sign your life away on the hood of a parked car in New York City.
Back shortly after a young red-headed accordionist struck gold on the Ted Mack Amateur Hour and he and his mama were sent to Switzerland to show them how it's really done.
Back before beach bums were featured on the cover of Time magazine.
I'm talking about back when the E Street Band was a communist organization! My pal, quiet, shy Dan Federici, was a one-man creator of some of the hairiest circumstances of our 40 year career... And that wasn't easy to do. He had "Mad Dog" Lopez to compete with.... Danny just outlasted him.
Maybe it was the "police riot" in Middletown, New Jersey. A show we were doing to raise bail money for "Mad Log" Lopez who was in jail in Richmond, Virginia, for having an altercation with police officers who we'd aggravated by playing too long. Danny allegedly knocked over our huge Marshall stacks on some of Middletown's finest who had rushed the stage because we broke the law by...playing too long.
As I stood there watching, several police oficers crawled out from underneath the speaker cabinets and rushed away to seek medical attention. Another nice young officer stood in front of me onstage waving his nightstick, poking and calling me nasty names. I looked over to see Danny with a beefy police officer pulling on one arm while Flo Federici, his first wife, pulled on the other, assisting her man in resisting arrest.
A kid leapt from the audience onto the stage, momentarily distracting the beefy officer with the insults of the day. Forever thereafter, "Phantom" Dan Federici slipped into the crowd and disappeared.
A warrant out for his arrest and one month on the lam later, he still hadn't been brought to justice. We hid him in various places but now we had a problem. We had a show coming at Monmouth College. We needed the money and we had to do the gig. We tried a replacement but it didn't work out. So Danny, to all of our admiration, stepped up and said he'd risk his freedom, take the chance and play.
Show night. 2,000 screaming fans in the Monmouth College gym. We had it worked out so Danny would not appear onstage until the moment we started playing. We figured the police who were there to arrest him wouldn't do so onstage during the show and risk starting another riot.
Let me set the scene for you. Danny is hiding, hunkered down in the backseat of a car in the parking lot. At five minutes to eight, our scheduled start time, I go out to whisk him in. I tap on the window.
"Danny, come on, it's time."
I hear back, "I'm not going."
Me: "What do you mean you're not going?"
Danny: "The cops are on the roof of the gym. I've seen them and they're going to nail me the minute I step out of this car."
As I open the door, I realize that Danny has been smoking a little something and had grown rather paranoid. I said, "Dan, there are no cops on the roof."
He says, "Yes, I saw them, I tell you. I'm not coming in."
So I used a procedure I'd call on often over the next forty years in dealing with my old pal's concerns. I threatened him...and cajoled. Finally, out he came. Across the parking lot and into the gym we swept for a rapturous concert during which we laughted like thieves at our excellent dodge of the local cops.
At the end of the evening, during the last song, I pulled the entire crowd up onto the stage and Danny slipped into the audience and out the front door. Once again, "Phantom" Dan had made his exit. (I still get the occasional card from the old Chief of Police of Middletown wishing us well. Our histories are forever intertwined.) And that, my friends, was only the beginning.
There was the time Danny quit the band during a rough period at Max's Kansas City, explaining to me that he was leaving to fix televisions. I asked him to think about that and come back later.
Or Danny, in the band rental car, bouncing off several parked cars after a night of entertainment, smashing out the windshield with his head but saved from severe injury by the huge hard cowboy hat he bought in Texas on our last Western swing.
Or Danny, leaving a large marijuana plant on the front seat of his car in a tow away zone. The car was promptly towed. He said, "Bruce, I'm going to go down and report that it was stolen." I said, "I'm not sure that's a good idea."
Down he went and straight into the slammer without passing go.
Or Danny, the only member of the E Street Band to be physically thrown out of the Stone Pony. Considering all the money we made them, that wasn't easy to do.
Or Danny receiving and surviving a "cautionary assault" from an enraged but restrained "Big Man" Clarence Clemons while they were living together and Danny finally drove the "Big Man" over the big top.
Or Danny assisting me in removing my foot from his stereo speaker after being the only band member ever to drive me into a violent rage.
And through it all, Danny played his beautiful, soulful B3 organ for me and our love grew. And continued to grow. Life is funny like that. He was my homeboy, and great, and for that you make considerations... And he was much more tolerant of my failures than I was of his.
When Danny wasn't causing chaos, he was a sweet, talented, unassuming, unpretentious good-hearted guy who simply had an unchecked ability to make good fortune and things in general go fabulously wrong.
But beyond all of that, he also had a mountain of the right stuff. He had the heart and soul of an engineer. He learned to fly. He was always up on the latest technology and would explain it to you patiently and in enormous detail. He was always "souping" something up, his car, his stereo, his B3. When Patti joined the band, he was the most welcoming, thoughtful, kindest friend to the first woman entering our "boys club."
He loved his kids, always bragging about Jason, Harley, and Madison, and he loved his wife Maya for the new things she brought into his life.
And then there was his artistry. He was the most intuitive player I've ever seen. His style was slippery and fluid, drawn to the spaces the other musicians in the E Street Band left. He wasn't an assertive player, he was a complementary player. A true accompanist. He naturally supplied the glue that bound the band's sound together. In doing so, he created for himself a very specific style. When you hear Dan Federici, you don't hear a blanket of sound, you hear a riff, packed with energy, flying above everything else for a few moments and then gone back in the track. "Phantom" Dan Federici. Now you hear him, now you don't.
Offstage, Danny couldn't recite a lyric or a chord progression for one of my songs. Onstage, his ears opened up. He listened, he felt, he played, finding the perfect hole and placement for a chord or a flurry of notes. This style created a tremendous feeling of spontaneity in our ensemble playing.
In the studio, if I wanted to loosen up the track we were recording, I'd put Danny on it and not tell him what to play. I'd just set him loose. He brought with him the sound of the carnival, the amusements, the boardwalk, the beach, the geography of our youth and the heart and soul of the birthplace of the E Street Band.
Then we grew up. Very slowly. We stood together through a lot of trials and tribulations. Danny's response to a mistake onstage, hard times, catastrophic events was usually a shrug and a smile. Sort of an "I am but one man in a raging sea, but I'm still afloat. And we're all still here."
I watched Danny fight and conquer some tough addictions. I watched him struggle to put his life together and in the last decade when the band reunited, thrive on sitting in his seat behind that big B3, filled with life and, yes, a new maturity, passion for his job, his family and his home in the brother and sisterhood of our band.
Finally, I watched him fight his cancer without complaint and with great courage and spirit. When I asked him how things looked, he just said, "what are you going to do? I'm looking forward to tomorrow." Danny, the sunny side up fatalist. He never gave up right to the end.
A few weeks back we ended up onstage in Indianapolis for what would be the last time. Before we went on I asked him what he wanted to play and he said, "Sandy." He wanted to strap on the accordion and revisit the boardwalk of our youth during the summer nights when we'd walk along the boards with all the time in the world.
So what if we just smashed into three parked cars, it's a beautiful night! So what if we're on the lam from the entire Middletown police department, let's go take a swim! He wanted to play once more the song that is of course about the end of something wonderful and the beginning of something unknown and new.
Let's go back to the days of miracles. Pete Townshend said, "a rock and roll band is a crazy thing. You meet some people when you're a kid and unlike any other occupation in the whole world, you're stuck with them your whole life no matter who they are or what crazy things they do."
If we didn't play together, the E Street Band at this point would probably not know one another. We wouldn't be in this room together. But we do... We do play together. And every night at 8 p.m., we walk out on stage together and that, my friends, is a place where miracles occur...old and new miracles. And those you are with, in the presence of miracles, you never forget. Life does not separate you. Death does not separate you. Those you are with who create miracles for you, like Danny did for me every night, you are honored to be amongst.
Of course we all grow up and we know "it's only rock and roll"...but it's not. After a lifetime of watching a man perform his miracle for you, night after night, it feels an awful lot like love.
So today, making another one of his mysterious exits, we say farewell to Danny, "Phantom" Dan, Federici. Father, husband, my brother, my friend, my mystery, my thorn, my rose, my keyboard player, my miracle man and lifelong member in good standing of the house rockin', pants droppin', earth shockin', hard rockin', booty shakin', love makin', heart breakin', soul cryin'... and, yes, death defyin' legendary E Street Band.
For the ones who had a notion, a notion deep inside
That it ain't no sin to be glad you're alive
ORGAN DONATION SAVES LIVES http://www.UNOS.org
Donate Organs and Save a Life
May 7, 2008
Red Bank, New Jersey
Count Basie Theatre
Darkness On The Edge Of Town
Badlands { lyrics }
Adam Raised A Cain { lyrics }
Something In The Night { lyrics }
Candy's Room { lyrics }
Racing In The Street { lyrics }
The Promised Land { lyrics }
Factory { lyrics } Tour Premiere
Streets Of Fire { lyrics }
Prove It All Night { lyrics }
Darkness On the Edge Of Town { lyrics }
Born To Run
Thunder Road { lyrics }
Tenth Avenue Freeze-Out { lyrics }
Night { lyrics }
Backstreets { lyrics }
Born To Run { lyrics }
She's The One { lyrics }
Meeting Across The River { lyrics }
Jungleland { lyrics }
So Young and In Love { lyrics }
Kitty's Back { lyrics }
Rosalita { lyrics }
Raise Your Hand [Tour Premiere]
TIME OFF? HA! THE BAND COMES TO THE BASIE
After wrapping up this spring North American leg of the Magic tour tomorrow in Ft. Lauderdale, Springsteen will be playing a smaller show closer to home less than a week later. Wednesday night's Count Basie Theatre benefit was originally billed as "An Evening with Bruce Springsteen." Now, we're anticipating "An Evening with Bruce Springsteen and the E Street Band," as Bruce plans to bring the whole crew to Red Bank for their first full theater show (the Basie holds roughly 1,500) since 1980.
holy shit !
May 7 / The Count Basie Theatre / Red Bank, NJ
Notes: Ah, the stuff that dreams are made of... or at least the stuff that fan rap sessions are made of: "They should do the Darkness album start to finish!" Well, they just did. And it wasn't just a Darkness 30th anniversary celebration -- they tackled the full Born to Run album in order, too, for what Bruce described at the outset as "something we've never done before and you're not gonna see anywhere else." An E Street Band theater show -- finding them packed tighter than ever on a small stage like this, with Nils, Patti, and Soozie all added to the line-up since the theater days -- would have been exceptional enough, but the four Perfect Album Sides of the setlist put this one over the top.
The evening began with the Basie's Rusty Young describing the benefit show's mission, to raise money for the restoration of this 80-year-old theater to its original glory -- "when the ceiling wasn't covered in netting" -- and this night alone brought in more than three million dollars. Young noted that Patti Scialfa is the "honorary co-chair of our capital campaign," and after he asked her for ideas... "tonight is her answer." Generous donations also made it possible, Young said, for 37 wounded veterans to attend the show, talking the bus in from Walter Reed.
Patti came out next to a mighty standing ovation -- "I'm supposed to welcome you, and you're welcoming me!" -- speaking of her and the rest of the band's history at the Basie, and of the importance of saving venues like this one. She was followed by NBC anchor Brian Williams, who goes back a long way as a fan and was clearly psyched just to be talking through Springsteen's mic ("the first and last time that will ever happen"). He recalled hitting the Stone Pony and the Tradewinds back in the day, ever on Bruce-watch; he also touched on the recent loss of Danny Federici, saying that "Great families endure. And great, great bands endure." "The netting is just to keep the larger pieces of debris from falling down," he added, "and if there's an entity that could cause the big ones to fall, it's this group here.... Ladies and gentlemen, Bruce Springsteen and the E Street Band!"
And with that, it was Darkness, side one, to start the show. "We're gonna start with Darkness, so we don't send you home suicidal!" Bruce quickly aborted "Badlands" seconds in, after a rough start: "We fucked it up already! I knew there was a reason why we didn't do this," he laughed. "Maybe we shouldn't do it!" But they did it. And man, they did it. From track to track, for the first time live, it was Darkness sequenced Bruce originally intended it to be heard, full of intensity from the howls on "Something in the Night" to the seemingly never-ending coda of "Racing in the Street," a straight-ahead "Factory" (not the Bruce/Patti duet of recent years) with Steve on mandolin, the modern twist on "Prove It All Night" as Nils rocked the new solo, and at the end of "side two," a hugely powerful vocal on the title track. Loads of guitar from Springsteen, too -- every solo except that Nils spectacular, in fact. Bruce offered a solo to Steve at one point, which was respectfully declined.
After an only-fitting intermission, Born to Run got the same sequential treatment, offering a distinct reminder of what a freakin' masterpiece it is, as well as of the difference in tone between the two records. After the ferocity of the first set, here Bruce was having a blast, jumping into the crowd on the "Freeze-out" and even being held up by the crowd -- did we mention this was a theater show? Several clambers up on the piano throughout this second set, too. "Tenth" also brought a full horn section to the stage -- "The Mighty Max Horns," as Bruce later called them -- consisting of Mark Pender on trumpet, LaBamba on trombone, Jerry Vivino and Ed Manion on saxes. Pender came back out for "Meeting Across the River," giving his own spin to Mark Isham's original trumpet part for a few minutes of absolute magic, also thanks to the beautfiul accompaniment from Roy and Garry. "Jungleland" had Steve stepping up for a soaring solo, and of course Clarence -- invigorated, up and around for much of this night -- did his thing and did it well.
And that wasn't the end -- as the needle hit the runout groove, Bruce said, "Let's bring out the horns! We've got a few more for you!" And they used the horn section to maximum effect for the entire encore, four bonus tracks starting off with Darkness outtake "So Young and in Love." "Kitty's Back" was next -- "and she's got somebody with her!" Bruce teased at the end, "Kitty's back, and she's got somebody with her!" That somebody was "Rosalita," and finally, Eddie Floyd's "Raise Your Hand" made sure we got an R&B cover in there for the full effect of this '70s theater revival.
It was a particular bygone era brought back to life, a celebration of the band's history and just one of its heydays, and a tip of the hat to a couple of 30th anniversaries... yet as ever with Springsteen, it was most notably moving forward and trying something new at the same time. And playing for a take-'em-all-in-with-one-glance crowd from the orchestra to the balcony, a packed theater practically on top of Bruce and the band (at least compared to where they have been and will be playing in this new millenium), it was the perfect crucible for revisiting the passion and the power of these classic records. An experiment, no doubt -- and an electrifying success.
Setlist:
Badlands
Adam Raised a Cain
Something in the Night
Candy's Room
Racing in the Street
The Promised Land
Factory
Streets of Fire
Prove It All Night
Darkness on the Edge of Town
* * *
Thunder Road
Tenth Avenue Freeze-out (w/ horns)
Night
Backstreets
Born to Run
She's the One
Meeting Across the River (w/ Mark Pender)
Jungleland
* * *
So Young and in Love (w/ horns)
Kitty's Back (w/ horns)
Rosalita (w/ horns)
Raise Your Hand (w/ horns)
For the ones who had a notion, a notion deep inside
That it ain't no sin to be glad you're alive
ORGAN DONATION SAVES LIVES http://www.UNOS.org
Donate Organs and Save a Life
May 7 / The Count Basie Theatre / Red Bank, NJ
Notes: Ah, the stuff that dreams are made of... or at least the stuff that fan rap sessions are made of: "They should do the Darkness album start to finish!" Well, they just did. And it wasn't just a Darkness 30th anniversary celebration -- they tackled the full Born to Run album in order, too, for what Bruce described at the outset as "something we've never done before and you're not gonna see anywhere else." An E Street Band theater show -- finding them packed tighter than ever on a small stage like this, with Nils, Patti, and Soozie all added to the line-up since the theater days -- would have been exceptional enough, but the four Perfect Album Sides of the setlist put this one over the top.
The evening began with the Basie's Rusty Young describing the benefit show's mission, to raise money for the restoration of this 80-year-old theater to its original glory -- "when the ceiling wasn't covered in netting" -- and this night alone brought in more than three million dollars. Young noted that Patti Scialfa is the "honorary co-chair of our capital campaign," and after he asked her for ideas... "tonight is her answer." Generous donations also made it possible, Young said, for 37 wounded veterans to attend the show, talking the bus in from Walter Reed.
Patti came out next to a mighty standing ovation -- "I'm supposed to welcome you, and you're welcoming me!" -- speaking of her and the rest of the band's history at the Basie, and of the importance of saving venues like this one. She was followed by NBC anchor Brian Williams, who goes back a long way as a fan and was clearly psyched just to be talking through Springsteen's mic ("the first and last time that will ever happen"). He recalled hitting the Stone Pony and the Tradewinds back in the day, ever on Bruce-watch; he also touched on the recent loss of Danny Federici, saying that "Great families endure. And great, great bands endure." "The netting is just to keep the larger pieces of debris from falling down," he added, "and if there's an entity that could cause the big ones to fall, it's this group here.... Ladies and gentlemen, Bruce Springsteen and the E Street Band!"
And with that, it was Darkness, side one, to start the show. "We're gonna start with Darkness, so we don't send you home suicidal!" Bruce quickly aborted "Badlands" seconds in, after a rough start: "We fucked it up already! I knew there was a reason why we didn't do this," he laughed. "Maybe we shouldn't do it!" But they did it. And man, they did it. From track to track, for the first time live, it was Darkness sequenced Bruce originally intended it to be heard, full of intensity from the howls on "Something in the Night" to the seemingly never-ending coda of "Racing in the Street," a straight-ahead "Factory" (not the Bruce/Patti duet of recent years) with Steve on mandolin, the modern twist on "Prove It All Night" as Nils rocked the new solo, and at the end of "side two," a hugely powerful vocal on the title track. Loads of guitar from Springsteen, too -- every solo except that Nils spectacular, in fact. Bruce offered a solo to Steve at one point, which was respectfully declined.
After an only-fitting intermission, Born to Run got the same sequential treatment, offering a distinct reminder of what a freakin' masterpiece it is, as well as of the difference in tone between the two records. After the ferocity of the first set, here Bruce was having a blast, jumping into the crowd on the "Freeze-out" and even being held up by the crowd -- did we mention this was a theater show? Several clambers up on the piano throughout this second set, too. "Tenth" also brought a full horn section to the stage -- "The Mighty Max Horns," as Bruce later called them -- consisting of Mark Pender on trumpet, LaBamba on trombone, Jerry Vivino and Ed Manion on saxes. Pender came back out for "Meeting Across the River," giving his own spin to Mark Isham's original trumpet part for a few minutes of absolute magic, also thanks to the beautfiul accompaniment from Roy and Garry. "Jungleland" had Steve stepping up for a soaring solo, and of course Clarence -- invigorated, up and around for much of this night -- did his thing and did it well.
And that wasn't the end -- as the needle hit the runout groove, Bruce said, "Let's bring out the horns! We've got a few more for you!" And they used the horn section to maximum effect for the entire encore, four bonus tracks starting off with Darkness outtake "So Young and in Love." "Kitty's Back" was next -- "and she's got somebody with her!" Bruce teased at the end, "Kitty's back, and she's got somebody with her!" That somebody was "Rosalita," and finally, Eddie Floyd's "Raise Your Hand" made sure we got an R&B cover in there for the full effect of this '70s theater revival.
It was a particular bygone era brought back to life, a celebration of the band's history and just one of its heydays, and a tip of the hat to a couple of 30th anniversaries... yet as ever with Springsteen, it was most notably moving forward and trying something new at the same time. And playing for a take-'em-all-in-with-one-glance crowd from the orchestra to the balcony, a packed theater practically on top of Bruce and the band (at least compared to where they have been and will be playing in this new millenium), it was the perfect crucible for revisiting the passion and the power of these classic records. An experiment, no doubt -- and an electrifying success.
Setlist:
Badlands
Adam Raised a Cain
Something in the Night
Candy's Room
Racing in the Street
The Promised Land
Factory
Streets of Fire
Prove It All Night
Darkness on the Edge of Town
* * *
Thunder Road
Tenth Avenue Freeze-out (w/ horns)
Night
Backstreets
Born to Run
She's the One
Meeting Across the River (w/ Mark Pender)
Jungleland
* * *
So Young and in Love (w/ horns)
Kitty's Back (w/ horns)
Rosalita (w/ horns)
Raise Your Hand (w/ horns)
For the ones who had a notion, a notion deep inside
That it ain't no sin to be glad you're alive
ORGAN DONATION SAVES LIVES http://www.UNOS.org
Donate Organs and Save a Life
For the ones who had a notion, a notion deep inside
That it ain't no sin to be glad you're alive
ORGAN DONATION SAVES LIVES http://www.UNOS.org
Donate Organs and Save a Life
May 7 / The Count Basie Theatre / Red Bank, NJ
Notes: Ah, the stuff that dreams are made of... or at least the stuff that fan rap sessions are made of: "They should do the Darkness album start to finish!" Well, they just did. And it wasn't just a Darkness 30th anniversary celebration -- they tackled the full Born to Run album in order, too, for what Bruce described at the outset as "something we've never done before and you're not gonna see anywhere else." An E Street Band theater show -- finding them packed tighter than ever on a small stage like this, with Nils, Patti, and Soozie all added to the line-up since the theater days -- would have been exceptional enough, but the four Perfect Album Sides of the setlist put this one over the top.
The evening began with the Basie's Rusty Young describing the benefit show's mission, to raise money for the restoration of this 80-year-old theater to its original glory -- "when the ceiling wasn't covered in netting" -- and this night alone brought in more than three million dollars. Young noted that Patti Scialfa is the "honorary co-chair of our capital campaign," and after he asked her for ideas... "tonight is her answer." Generous donations also made it possible, Young said, for 37 wounded veterans to attend the show, talking the bus in from Walter Reed.
Patti came out next to a mighty standing ovation -- "I'm supposed to welcome you, and you're welcoming me!" -- speaking of her and the rest of the band's history at the Basie, and of the importance of saving venues like this one. She was followed by NBC anchor Brian Williams, who goes back a long way as a fan and was clearly psyched just to be talking through Springsteen's mic ("the first and last time that will ever happen"). He recalled hitting the Stone Pony and the Tradewinds back in the day, ever on Bruce-watch; he also touched on the recent loss of Danny Federici, saying that "Great families endure. And great, great bands endure." "The netting is just to keep the larger pieces of debris from falling down," he added, "and if there's an entity that could cause the big ones to fall, it's this group here.... Ladies and gentlemen, Bruce Springsteen and the E Street Band!"
And with that, it was Darkness, side one, to start the show. "We're gonna start with Darkness, so we don't send you home suicidal!" Bruce quickly aborted "Badlands" seconds in, after a rough start: "We fucked it up already! I knew there was a reason why we didn't do this," he laughed. "Maybe we shouldn't do it!" But they did it. And man, they did it. From track to track, for the first time live, it was Darkness sequenced Bruce originally intended it to be heard, full of intensity from the howls on "Something in the Night" to the seemingly never-ending coda of "Racing in the Street," a straight-ahead "Factory" (not the Bruce/Patti duet of recent years) with Steve on mandolin, the modern twist on "Prove It All Night" as Nils rocked the new solo, and at the end of "side two," a hugely powerful vocal on the title track. Loads of guitar from Springsteen, too -- every solo except that Nils spectacular, in fact. Bruce offered a solo to Steve at one point, which was respectfully declined.
After an only-fitting intermission, Born to Run got the same sequential treatment, offering a distinct reminder of what a freakin' masterpiece it is, as well as of the difference in tone between the two records. After the ferocity of the first set, here Bruce was having a blast, jumping into the crowd on the "Freeze-out" and even being held up by the crowd -- did we mention this was a theater show? Several clambers up on the piano throughout this second set, too. "Tenth" also brought a full horn section to the stage -- "The Mighty Max Horns," as Bruce later called them -- consisting of Mark Pender on trumpet, LaBamba on trombone, Jerry Vivino and Ed Manion on saxes. Pender came back out for "Meeting Across the River," giving his own spin to Mark Isham's original trumpet part for a few minutes of absolute magic, also thanks to the beautfiul accompaniment from Roy and Garry. "Jungleland" had Steve stepping up for a soaring solo, and of course Clarence -- invigorated, up and around for much of this night -- did his thing and did it well.
And that wasn't the end -- as the needle hit the runout groove, Bruce said, "Let's bring out the horns! We've got a few more for you!" And they used the horn section to maximum effect for the entire encore, four bonus tracks starting off with Darkness outtake "So Young and in Love." "Kitty's Back" was next -- "and she's got somebody with her!" Bruce teased at the end, "Kitty's back, and she's got somebody with her!" That somebody was "Rosalita," and finally, Eddie Floyd's "Raise Your Hand" made sure we got an R&B cover in there for the full effect of this '70s theater revival.
It was a particular bygone era brought back to life, a celebration of the band's history and just one of its heydays, and a tip of the hat to a couple of 30th anniversaries... yet as ever with Springsteen, it was most notably moving forward and trying something new at the same time. And playing for a take-'em-all-in-with-one-glance crowd from the orchestra to the balcony, a packed theater practically on top of Bruce and the band (at least compared to where they have been and will be playing in this new millenium), it was the perfect crucible for revisiting the passion and the power of these classic records. An experiment, no doubt -- and an electrifying success.
Setlist:
Badlands
Adam Raised a Cain
Something in the Night
Candy's Room
Racing in the Street
The Promised Land
Factory
Streets of Fire
Prove It All Night
Darkness on the Edge of Town
* * *
Thunder Road
Tenth Avenue Freeze-out (w/ horns)
Night
Backstreets
Born to Run
She's the One
Meeting Across the River (w/ Mark Pender)
Jungleland
* * *
So Young and in Love (w/ horns)
Kitty's Back (w/ horns)
Rosalita (w/ horns)
Raise Your Hand (w/ horns)
Jesus
Christ
Believe me, when I was growin up, I thought the worst thing you could turn out to be was normal, So I say freaks in the most complementary way. Here's a song by a fellow freak - E.V
For the ones who had a notion, a notion deep inside
That it ain't no sin to be glad you're alive
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like I said it is not the best quality but you get the point. I heard there are other boots coming out. As well as there were 4 different cameras filming the performance
like I said it is not the best quality but you get the point. I heard there are other boots coming out. As well as there were 4 different cameras filming the performance
did you alll check out / hear Bruce statement at the beginning of this show ?
he described at the outset as "something we've never done before and you're not gonna see anywhere else." An E Street Band theater show -- finding them packed tighter than ever on a small stage like this, with Nils, Patti, and Soozie all added to the line-up since the theater days -- would have been exceptional enough, but the four Perfect Album Sides of the setlist put this one over the top.
this kind of makes me think this show will be included in the yet to be talked about upcoming release of the 30th anniversary special package for the release of " Darkness On The Edge Of Town " .
we'll see, cant wait for July !
For the ones who had a notion, a notion deep inside
That it ain't no sin to be glad you're alive
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this kind of makes me think this show will be included in the yet to be talked about upcoming release of the 30th anniversary special package for the release of " Darkness On The Edge Of Town " .
Yeah, I was thinking that too... that would be incredible. I think I'd die if they came out with a remastered version of Darkness plus that show on DVD.
It's a town full of losers and I'm pulling out of here to win
only problem i had with the Born To Run boxset was there was no cd of outakes. an EP would've been nice! "Lonely Night In The Park", "Thunder Road" acoustic, "Born To Run" with the female vocals, "A Love So Fine", "Paradise By The C", "Walking In The Street", "Linda Let Me Be The One" the version that wasn't on Tracks, etc.
alot of Darkness era outtakes came out on Tracks but we're still missing some: Goin' Back, Winter Song, Janey Needs A Shooter (probably his best bside), Prove It All Night (with Something In The Night lyrics), Racing In The Street alternate version with harmonica, Taxi Cab/City At Night, Fire, Preachers Daughter, etc.
i do expect a remastered Darkness, a live show from Arizona 1978, a documentary (that tribute to Danny gave us a glimpse of the footage he's sitting on) and some great artwork. Lynn Goldsmith's Springsteen Access All Areas photo book has some great shots of the ESt band on the road for the Darkness tour so hopefully they'll use some of her picts. i'd love to see Darkness as a double disc w/ outtakes on disc 2. i can only hope!
i do expect a remastered Darkness, a live show from Arizona 1978, a documentary (that tribute to Danny gave us a glimpse of the footage he's sitting on) and some great artwork.
where did you get this tidbit from?
did you go to count basie ?
cannot wait for july !
For the ones who had a notion, a notion deep inside
That it ain't no sin to be glad you're alive
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well, there's been rumors flying around for the past year about a Darkness box. i know for a fact that they had that AZ 1978 concert mix and mastered. Bruce's back catalouge has been long overdo for a total remastering so i assume they'd do the same w/ Darkness that they did w/ the BTR box.
as for a documentary, we can only hope for something as amazing as that Wings For Wheels doc. i don't think it'd take all that much,.....plus they have some time off right now to film all the interviews!! this is just me spitballing here, i really have no idea.
i would be TOTALLY shocked if we don't get anything for the Darkness 30th anniversery. for as well loved as the record is, Bruce has to give his fans something.
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Saturday night at 11PM WMMR in Philly will be broadcasting Bruce's show from Feb 5, 1975 at the Main Point in Bryn Mawr PA. Below is info on the show and WMMR can be streamed online at http://www.wmmr.com.
05/02/75 - THE MAIN POINT, BRYN MAWR, PA
MC intro - INCIDENT ON 57TH STREET (8.10) / MOUNTAIN OF LOVE (2.56) / BORN TO RUN (4.15) / E ST SHUFFLE (12.26) / THUNDER ROAD (5.34) / I WANT YOU (6.00) / SPIRIT IN THE NIGHT (5.52) / SHE'S THE ONE (5.50) / GROWIN’ UP (3.10) / SAINT IN THE CITY (3.18) / JUNGLELAND (9.26) / KITTY'S BACK (11.10) / NEW YORK CITY SERENADE (16.58) / ROSALITA (10.09) / SANDY (6.17) / A LOVE SO FINE (7.13) / FOR YOU (7.03) / BACK IN THE USA (6.17)
ONE show, held as a benefit for the club, with Springsteen & The ESB the sole act on the bill. The show was MC’d by DJ Ed Sciaky and began just after 9pm. It was not a true simulcast, rather it was broadcast by WMMR-FM on about a 2hr delay the same night. An attendee review of the show from 1975 by critic David Fricke (see NEWS below) states the show took place on Feb 3rd - but this appears to be a date error by Fricke given detailed interview comments by Sciaky (see below) and the recollections of other attendees.
The complete show was broadcast and the above-noted 18-song setlist represents the entire concert. Not only is it one of the longest (160 minutes) single-show gigs up to this point but it's one of the most compelling performances of Springsteen's entire career. There are spellbinding renditions of “Incident", “New York City Serenade” and "For You", as well as the earliest known performance of "Thunder Road" (with work-in-progress title/lyrics) plus a wild, majestic version of Chuck Berry's "Back In The USA".
This famous show had circulated on vinyl boots and tapes since the mid-1970's, but rarely the entire show (early vinyl boots were missing the final 6 songs in the setlist) and always in variable quality. The entire performance is now available in outstanding (though not flawless) sound quality on the CDs ‘THE SAINT, THE INCIDENT & THE MAIN POINT SHUFFLE’ (Gdr), ‘YOU CAN TRUST YOUR CAR’ (Labor of Love) and most recently (and in the finest overall quality yet) on ‘MAIN POINT NIGHT’ (Crystal Cat).
The final 55 minutes or so of this show (i.e., from “NYC Serenade” onwards) has never surfaced in collector circles in quite as crisp, clear and dynamic a sound quality as the rest of the show. There are a couple of possible explanations for this but the most likely reason is that the early part of the show has been sourced from pre-broadcast reels (or copies of them) but the later part of the show is sourced from a broadcast reel (which involves compression). In an interview in Backstreets Magazine #82 Ed Sciaky mentioned some important information --- "We didn't have a phone line from the Main Point, so they had to tape the show in hour-long segments and then drive them to the station and put them on the air…and after the final reel had played, Bruce's lighting guy Marc Brickman (nb – the Lighting Director) took all of the tapes. So we (WMMR) never got a good copy of the show”. Note: Contrary to myth the police siren heard at the conclusion of “Incident” was an audio prop that had been utilized at a few of Bruce’s shows just prior to this one (i.e., it wasn’t a real vehicle). Also – a promotion-only, 7” flexidisc issued to subscribers of Austrian pop magazine ‘Rennbahn Express’ in June 1981 contains MC Sciaky’s intro from this show, albeit edited to avoid references to WMMR and The Main Point.
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5/23/2011- An utter embarrassment... ticketing failures too many to list.
i have this show and it's one of the BEST i've ever heard. the version of "Incident" is just Bruce, piano and a cello. groovy female backing vocals at one point. "Mountain of Love" is amazing as is the embronic version of "Thunder Road" called "Wings For Wheels". worth having for sure.
Saturday night at 11PM WMMR in Philly will be broadcasting Bruce's show from Feb 5, 1975 at the Main Point in Bryn Mawr PA. Below is info on the show and WMMR can be streamed online at http://www.wmmr.com.
05/02/75 - THE MAIN POINT, BRYN MAWR, PA
MC intro - INCIDENT ON 57TH STREET (8.10) / MOUNTAIN OF LOVE (2.56) / BORN TO RUN (4.15) / E ST SHUFFLE (12.26) / THUNDER ROAD (5.34) / I WANT YOU (6.00) / SPIRIT IN THE NIGHT (5.52) / SHE'S THE ONE (5.50) / GROWIN’ UP (3.10) / SAINT IN THE CITY (3.18) / JUNGLELAND (9.26) / KITTY'S BACK (11.10) / NEW YORK CITY SERENADE (16.58) / ROSALITA (10.09) / SANDY (6.17) / A LOVE SO FINE (7.13) / FOR YOU (7.03) / BACK IN THE USA (6.17)
ONE show, held as a benefit for the club, with Springsteen & The ESB the sole act on the bill. The show was MC’d by DJ Ed Sciaky and began just after 9pm. It was not a true simulcast, rather it was broadcast by WMMR-FM on about a 2hr delay the same night. An attendee review of the show from 1975 by critic David Fricke (see NEWS below) states the show took place on Feb 3rd - but this appears to be a date error by Fricke given detailed interview comments by Sciaky (see below) and the recollections of other attendees.
The complete show was broadcast and the above-noted 18-song setlist represents the entire concert. Not only is it one of the longest (160 minutes) single-show gigs up to this point but it's one of the most compelling performances of Springsteen's entire career. There are spellbinding renditions of “Incident", “New York City Serenade” and "For You", as well as the earliest known performance of "Thunder Road" (with work-in-progress title/lyrics) plus a wild, majestic version of Chuck Berry's "Back In The USA".
This famous show had circulated on vinyl boots and tapes since the mid-1970's, but rarely the entire show (early vinyl boots were missing the final 6 songs in the setlist) and always in variable quality. The entire performance is now available in outstanding (though not flawless) sound quality on the CDs ‘THE SAINT, THE INCIDENT & THE MAIN POINT SHUFFLE’ (Gdr), ‘YOU CAN TRUST YOUR CAR’ (Labor of Love) and most recently (and in the finest overall quality yet) on ‘MAIN POINT NIGHT’ (Crystal Cat).
The final 55 minutes or so of this show (i.e., from “NYC Serenade” onwards) has never surfaced in collector circles in quite as crisp, clear and dynamic a sound quality as the rest of the show. There are a couple of possible explanations for this but the most likely reason is that the early part of the show has been sourced from pre-broadcast reels (or copies of them) but the later part of the show is sourced from a broadcast reel (which involves compression). In an interview in Backstreets Magazine #82 Ed Sciaky mentioned some important information --- "We didn't have a phone line from the Main Point, so they had to tape the show in hour-long segments and then drive them to the station and put them on the air…and after the final reel had played, Bruce's lighting guy Marc Brickman (nb – the Lighting Director) took all of the tapes. So we (WMMR) never got a good copy of the show”. Note: Contrary to myth the police siren heard at the conclusion of “Incident” was an audio prop that had been utilized at a few of Bruce’s shows just prior to this one (i.e., it wasn’t a real vehicle). Also – a promotion-only, 7” flexidisc issued to subscribers of Austrian pop magazine ‘Rennbahn Express’ in June 1981 contains MC Sciaky’s intro from this show, albeit edited to avoid references to WMMR and The Main Point.
wow
i caught this way too late.
did you listen?
one of the legendary philly shows huh
niiiiice
For the ones who had a notion, a notion deep inside
That it ain't no sin to be glad you're alive
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Comments
yes, if those shows' setlists are any indication of how the rest of the tour is going to go, then we have a lot to look forward when he returns home.
I have a quick question regarding tickets...
I'm in the UK and a friend from Greece bought me a pair of tickets for the Manchester show on May 28th. So, how near to the show do tickets usually get sent out? I'm just hoping that there's enough time for him to receive the tickets and then send them out here to England before the show!
After wrapping up this spring North American leg of the Magic tour tomorrow in Ft. Lauderdale, Springsteen will be playing a smaller show closer to home less than a week later. Wednesday night's Count Basie Theatre benefit was originally billed as "An Evening with Bruce Springsteen." Now, we're anticipating "An Evening with Bruce Springsteen and the E Street Band," as Bruce plans to bring the whole crew to Red Bank for their first full theater show (the Basie holds roughly 1,500) since 1980.
That it ain't no sin to be glad you're alive
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it was truly amazing!!
i've read a few complaints online about the sound problems at the venue but we were in GA, standing directly on the gate of the soundboard and it sounded great (a few times the mics did screech though)
also the security getting in was ridiculous...
the lines were hundreds of people long and took forever.
however, the show, probably the 8th or 9th time I've seen him... was incredible.
and, oh yeah, my husband and I bought 2 tickets outside for a total of $70.
not bad
May 2, 2008
Ft. Lauderdale, Florida
Bank Atlantic Center
The Promised Land
I Wanna Be With You - Tour Premiere
Radio Nowhere
Out In The Street
This Hard Land
Gypsy Biker
Growin' Up
Candy's Room
Prove It All Night
She's The One
Livin' In The Future
Mary's Place
Girls In Their Summer Clothes
Devil's Arcade
The Rising
Last To Die
Long Walk Home
Badlands
Thunder Road
Born To Run
Rosalita
Tenth Avenue Freeze-Out
American Land
Kitty's Back
WOW WOW WOW WOW WOW !!!!!!!
07 8/5 Lolla 8/2 VIC
06 7/22,23 Gorge 7/20 Ptl
04 10/8 VFC Kissimmee
03 4/11 WPB, 4/12 HOB Orlando, 7/8,9 MSG
00 8/24 Jones Bch 8/9,10 WPB
1998 9/22,23 WPB 1996 10/7 Ft Laud 1994 3/28 Miami
awesome set list. that must have been a great surprise when he came back out after american land to play kitty. on this tour, when he plays american land, that usually means thats it. it has been their yellow ledbetter on this tour.
Bruce Springsteen’s Eulogy for Danny Federici
FAREWELL TO DANNY
Let me start with the stories.
Back in the days of miracles, the frontier days when "Mad Dog" Lopez and his temper struck fear into the band, small club owners, innocent civilians and all women, children and small animals.
Back in the days when you could still sign your life away on the hood of a parked car in New York City.
Back shortly after a young red-headed accordionist struck gold on the Ted Mack Amateur Hour and he and his mama were sent to Switzerland to show them how it's really done.
Back before beach bums were featured on the cover of Time magazine.
I'm talking about back when the E Street Band was a communist organization! My pal, quiet, shy Dan Federici, was a one-man creator of some of the hairiest circumstances of our 40 year career... And that wasn't easy to do. He had "Mad Dog" Lopez to compete with.... Danny just outlasted him.
Maybe it was the "police riot" in Middletown, New Jersey. A show we were doing to raise bail money for "Mad Log" Lopez who was in jail in Richmond, Virginia, for having an altercation with police officers who we'd aggravated by playing too long. Danny allegedly knocked over our huge Marshall stacks on some of Middletown's finest who had rushed the stage because we broke the law by...playing too long.
As I stood there watching, several police oficers crawled out from underneath the speaker cabinets and rushed away to seek medical attention. Another nice young officer stood in front of me onstage waving his nightstick, poking and calling me nasty names. I looked over to see Danny with a beefy police officer pulling on one arm while Flo Federici, his first wife, pulled on the other, assisting her man in resisting arrest.
A kid leapt from the audience onto the stage, momentarily distracting the beefy officer with the insults of the day. Forever thereafter, "Phantom" Dan Federici slipped into the crowd and disappeared.
A warrant out for his arrest and one month on the lam later, he still hadn't been brought to justice. We hid him in various places but now we had a problem. We had a show coming at Monmouth College. We needed the money and we had to do the gig. We tried a replacement but it didn't work out. So Danny, to all of our admiration, stepped up and said he'd risk his freedom, take the chance and play.
Show night. 2,000 screaming fans in the Monmouth College gym. We had it worked out so Danny would not appear onstage until the moment we started playing. We figured the police who were there to arrest him wouldn't do so onstage during the show and risk starting another riot.
Let me set the scene for you. Danny is hiding, hunkered down in the backseat of a car in the parking lot. At five minutes to eight, our scheduled start time, I go out to whisk him in. I tap on the window.
"Danny, come on, it's time."
I hear back, "I'm not going."
Me: "What do you mean you're not going?"
Danny: "The cops are on the roof of the gym. I've seen them and they're going to nail me the minute I step out of this car."
As I open the door, I realize that Danny has been smoking a little something and had grown rather paranoid. I said, "Dan, there are no cops on the roof."
He says, "Yes, I saw them, I tell you. I'm not coming in."
So I used a procedure I'd call on often over the next forty years in dealing with my old pal's concerns. I threatened him...and cajoled. Finally, out he came. Across the parking lot and into the gym we swept for a rapturous concert during which we laughted like thieves at our excellent dodge of the local cops.
At the end of the evening, during the last song, I pulled the entire crowd up onto the stage and Danny slipped into the audience and out the front door. Once again, "Phantom" Dan had made his exit. (I still get the occasional card from the old Chief of Police of Middletown wishing us well. Our histories are forever intertwined.) And that, my friends, was only the beginning.
There was the time Danny quit the band during a rough period at Max's Kansas City, explaining to me that he was leaving to fix televisions. I asked him to think about that and come back later.
Or Danny, in the band rental car, bouncing off several parked cars after a night of entertainment, smashing out the windshield with his head but saved from severe injury by the huge hard cowboy hat he bought in Texas on our last Western swing.
Or Danny, leaving a large marijuana plant on the front seat of his car in a tow away zone. The car was promptly towed. He said, "Bruce, I'm going to go down and report that it was stolen." I said, "I'm not sure that's a good idea."
Down he went and straight into the slammer without passing go.
Or Danny, the only member of the E Street Band to be physically thrown out of the Stone Pony. Considering all the money we made them, that wasn't easy to do.
Or Danny receiving and surviving a "cautionary assault" from an enraged but restrained "Big Man" Clarence Clemons while they were living together and Danny finally drove the "Big Man" over the big top.
Or Danny assisting me in removing my foot from his stereo speaker after being the only band member ever to drive me into a violent rage.
And through it all, Danny played his beautiful, soulful B3 organ for me and our love grew. And continued to grow. Life is funny like that. He was my homeboy, and great, and for that you make considerations... And he was much more tolerant of my failures than I was of his.
When Danny wasn't causing chaos, he was a sweet, talented, unassuming, unpretentious good-hearted guy who simply had an unchecked ability to make good fortune and things in general go fabulously wrong.
But beyond all of that, he also had a mountain of the right stuff. He had the heart and soul of an engineer. He learned to fly. He was always up on the latest technology and would explain it to you patiently and in enormous detail. He was always "souping" something up, his car, his stereo, his B3. When Patti joined the band, he was the most welcoming, thoughtful, kindest friend to the first woman entering our "boys club."
He loved his kids, always bragging about Jason, Harley, and Madison, and he loved his wife Maya for the new things she brought into his life.
And then there was his artistry. He was the most intuitive player I've ever seen. His style was slippery and fluid, drawn to the spaces the other musicians in the E Street Band left. He wasn't an assertive player, he was a complementary player. A true accompanist. He naturally supplied the glue that bound the band's sound together. In doing so, he created for himself a very specific style. When you hear Dan Federici, you don't hear a blanket of sound, you hear a riff, packed with energy, flying above everything else for a few moments and then gone back in the track. "Phantom" Dan Federici. Now you hear him, now you don't.
Offstage, Danny couldn't recite a lyric or a chord progression for one of my songs. Onstage, his ears opened up. He listened, he felt, he played, finding the perfect hole and placement for a chord or a flurry of notes. This style created a tremendous feeling of spontaneity in our ensemble playing.
In the studio, if I wanted to loosen up the track we were recording, I'd put Danny on it and not tell him what to play. I'd just set him loose. He brought with him the sound of the carnival, the amusements, the boardwalk, the beach, the geography of our youth and the heart and soul of the birthplace of the E Street Band.
Then we grew up. Very slowly. We stood together through a lot of trials and tribulations. Danny's response to a mistake onstage, hard times, catastrophic events was usually a shrug and a smile. Sort of an "I am but one man in a raging sea, but I'm still afloat. And we're all still here."
I watched Danny fight and conquer some tough addictions. I watched him struggle to put his life together and in the last decade when the band reunited, thrive on sitting in his seat behind that big B3, filled with life and, yes, a new maturity, passion for his job, his family and his home in the brother and sisterhood of our band.
Finally, I watched him fight his cancer without complaint and with great courage and spirit. When I asked him how things looked, he just said, "what are you going to do? I'm looking forward to tomorrow." Danny, the sunny side up fatalist. He never gave up right to the end.
A few weeks back we ended up onstage in Indianapolis for what would be the last time. Before we went on I asked him what he wanted to play and he said, "Sandy." He wanted to strap on the accordion and revisit the boardwalk of our youth during the summer nights when we'd walk along the boards with all the time in the world.
So what if we just smashed into three parked cars, it's a beautiful night! So what if we're on the lam from the entire Middletown police department, let's go take a swim! He wanted to play once more the song that is of course about the end of something wonderful and the beginning of something unknown and new.
Let's go back to the days of miracles. Pete Townshend said, "a rock and roll band is a crazy thing. You meet some people when you're a kid and unlike any other occupation in the whole world, you're stuck with them your whole life no matter who they are or what crazy things they do."
If we didn't play together, the E Street Band at this point would probably not know one another. We wouldn't be in this room together. But we do... We do play together. And every night at 8 p.m., we walk out on stage together and that, my friends, is a place where miracles occur...old and new miracles. And those you are with, in the presence of miracles, you never forget. Life does not separate you. Death does not separate you. Those you are with who create miracles for you, like Danny did for me every night, you are honored to be amongst.
Of course we all grow up and we know "it's only rock and roll"...but it's not. After a lifetime of watching a man perform his miracle for you, night after night, it feels an awful lot like love.
So today, making another one of his mysterious exits, we say farewell to Danny, "Phantom" Dan, Federici. Father, husband, my brother, my friend, my mystery, my thorn, my rose, my keyboard player, my miracle man and lifelong member in good standing of the house rockin', pants droppin', earth shockin', hard rockin', booty shakin', love makin', heart breakin', soul cryin'... and, yes, death defyin' legendary E Street Band.
That it ain't no sin to be glad you're alive
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Red Bank, New Jersey
Count Basie Theatre
Darkness On The Edge Of Town
Badlands { lyrics }
Adam Raised A Cain { lyrics }
Something In The Night { lyrics }
Candy's Room { lyrics }
Racing In The Street { lyrics }
The Promised Land { lyrics }
Factory { lyrics } Tour Premiere
Streets Of Fire { lyrics }
Prove It All Night { lyrics }
Darkness On the Edge Of Town { lyrics }
Born To Run
Thunder Road { lyrics }
Tenth Avenue Freeze-Out { lyrics }
Night { lyrics }
Backstreets { lyrics }
Born To Run { lyrics }
She's The One { lyrics }
Meeting Across The River { lyrics }
Jungleland { lyrics }
So Young and In Love { lyrics }
Kitty's Back { lyrics }
Rosalita { lyrics }
Raise Your Hand [Tour Premiere]
holy shit !
May 7 / The Count Basie Theatre / Red Bank, NJ
Notes: Ah, the stuff that dreams are made of... or at least the stuff that fan rap sessions are made of: "They should do the Darkness album start to finish!" Well, they just did. And it wasn't just a Darkness 30th anniversary celebration -- they tackled the full Born to Run album in order, too, for what Bruce described at the outset as "something we've never done before and you're not gonna see anywhere else." An E Street Band theater show -- finding them packed tighter than ever on a small stage like this, with Nils, Patti, and Soozie all added to the line-up since the theater days -- would have been exceptional enough, but the four Perfect Album Sides of the setlist put this one over the top.
The evening began with the Basie's Rusty Young describing the benefit show's mission, to raise money for the restoration of this 80-year-old theater to its original glory -- "when the ceiling wasn't covered in netting" -- and this night alone brought in more than three million dollars. Young noted that Patti Scialfa is the "honorary co-chair of our capital campaign," and after he asked her for ideas... "tonight is her answer." Generous donations also made it possible, Young said, for 37 wounded veterans to attend the show, talking the bus in from Walter Reed.
Patti came out next to a mighty standing ovation -- "I'm supposed to welcome you, and you're welcoming me!" -- speaking of her and the rest of the band's history at the Basie, and of the importance of saving venues like this one. She was followed by NBC anchor Brian Williams, who goes back a long way as a fan and was clearly psyched just to be talking through Springsteen's mic ("the first and last time that will ever happen"). He recalled hitting the Stone Pony and the Tradewinds back in the day, ever on Bruce-watch; he also touched on the recent loss of Danny Federici, saying that "Great families endure. And great, great bands endure." "The netting is just to keep the larger pieces of debris from falling down," he added, "and if there's an entity that could cause the big ones to fall, it's this group here.... Ladies and gentlemen, Bruce Springsteen and the E Street Band!"
And with that, it was Darkness, side one, to start the show. "We're gonna start with Darkness, so we don't send you home suicidal!" Bruce quickly aborted "Badlands" seconds in, after a rough start: "We fucked it up already! I knew there was a reason why we didn't do this," he laughed. "Maybe we shouldn't do it!" But they did it. And man, they did it. From track to track, for the first time live, it was Darkness sequenced Bruce originally intended it to be heard, full of intensity from the howls on "Something in the Night" to the seemingly never-ending coda of "Racing in the Street," a straight-ahead "Factory" (not the Bruce/Patti duet of recent years) with Steve on mandolin, the modern twist on "Prove It All Night" as Nils rocked the new solo, and at the end of "side two," a hugely powerful vocal on the title track. Loads of guitar from Springsteen, too -- every solo except that Nils spectacular, in fact. Bruce offered a solo to Steve at one point, which was respectfully declined.
After an only-fitting intermission, Born to Run got the same sequential treatment, offering a distinct reminder of what a freakin' masterpiece it is, as well as of the difference in tone between the two records. After the ferocity of the first set, here Bruce was having a blast, jumping into the crowd on the "Freeze-out" and even being held up by the crowd -- did we mention this was a theater show? Several clambers up on the piano throughout this second set, too. "Tenth" also brought a full horn section to the stage -- "The Mighty Max Horns," as Bruce later called them -- consisting of Mark Pender on trumpet, LaBamba on trombone, Jerry Vivino and Ed Manion on saxes. Pender came back out for "Meeting Across the River," giving his own spin to Mark Isham's original trumpet part for a few minutes of absolute magic, also thanks to the beautfiul accompaniment from Roy and Garry. "Jungleland" had Steve stepping up for a soaring solo, and of course Clarence -- invigorated, up and around for much of this night -- did his thing and did it well.
And that wasn't the end -- as the needle hit the runout groove, Bruce said, "Let's bring out the horns! We've got a few more for you!" And they used the horn section to maximum effect for the entire encore, four bonus tracks starting off with Darkness outtake "So Young and in Love." "Kitty's Back" was next -- "and she's got somebody with her!" Bruce teased at the end, "Kitty's back, and she's got somebody with her!" That somebody was "Rosalita," and finally, Eddie Floyd's "Raise Your Hand" made sure we got an R&B cover in there for the full effect of this '70s theater revival.
It was a particular bygone era brought back to life, a celebration of the band's history and just one of its heydays, and a tip of the hat to a couple of 30th anniversaries... yet as ever with Springsteen, it was most notably moving forward and trying something new at the same time. And playing for a take-'em-all-in-with-one-glance crowd from the orchestra to the balcony, a packed theater practically on top of Bruce and the band (at least compared to where they have been and will be playing in this new millenium), it was the perfect crucible for revisiting the passion and the power of these classic records. An experiment, no doubt -- and an electrifying success.
Setlist:
Badlands
Adam Raised a Cain
Something in the Night
Candy's Room
Racing in the Street
The Promised Land
Factory
Streets of Fire
Prove It All Night
Darkness on the Edge of Town
* * *
Thunder Road
Tenth Avenue Freeze-out (w/ horns)
Night
Backstreets
Born to Run
She's the One
Meeting Across the River (w/ Mark Pender)
Jungleland
* * *
So Young and in Love (w/ horns)
Kitty's Back (w/ horns)
Rosalita (w/ horns)
Raise Your Hand (w/ horns)
That it ain't no sin to be glad you're alive
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oh. my. god.
That it ain't no sin to be glad you're alive
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Jesus
Christ
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Darkness
http://www.megaupload.com/nl/?d=2SW7HWNV
Born To Run
http://www.megaupload.com/nl/?d=5R61R1RA
Encores
http://www.megaupload.com/nl/?d=2J2TVKXF
very good call. i will check those out.
like I said it is not the best quality but you get the point. I heard there are other boots coming out. As well as there were 4 different cameras filming the performance
did you alll check out / hear Bruce statement at the beginning of this show ?
this kind of makes me think this show will be included in the yet to be talked about upcoming release of the 30th anniversary special package for the release of " Darkness On The Edge Of Town " .
we'll see, cant wait for July !
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that is unbelievable!!
WOW!
hope it was filmed for a movie release of some sort
07 8/5 Lolla 8/2 VIC
06 7/22,23 Gorge 7/20 Ptl
04 10/8 VFC Kissimmee
03 4/11 WPB, 4/12 HOB Orlando, 7/8,9 MSG
00 8/24 Jones Bch 8/9,10 WPB
1998 9/22,23 WPB 1996 10/7 Ft Laud 1994 3/28 Miami
Yeah, I was thinking that too... that would be incredible. I think I'd die if they came out with a remastered version of Darkness plus that show on DVD.
alot of Darkness era outtakes came out on Tracks but we're still missing some: Goin' Back, Winter Song, Janey Needs A Shooter (probably his best bside), Prove It All Night (with Something In The Night lyrics), Racing In The Street alternate version with harmonica, Taxi Cab/City At Night, Fire, Preachers Daughter, etc.
i do expect a remastered Darkness, a live show from Arizona 1978, a documentary (that tribute to Danny gave us a glimpse of the footage he's sitting on) and some great artwork. Lynn Goldsmith's Springsteen Access All Areas photo book has some great shots of the ESt band on the road for the Darkness tour so hopefully they'll use some of her picts. i'd love to see Darkness as a double disc w/ outtakes on disc 2. i can only hope!
where did you get this tidbit from?
did you go to count basie ?
cannot wait for july !
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as for a documentary, we can only hope for something as amazing as that Wings For Wheels doc. i don't think it'd take all that much,.....plus they have some time off right now to film all the interviews!! this is just me spitballing here, i really have no idea.
i would be TOTALLY shocked if we don't get anything for the Darkness 30th anniversery. for as well loved as the record is, Bruce has to give his fans something.
http://rapidshare.com/files/114372194/2008-05-07_-_Red_Bank__NJ.txt
gracias !
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05/02/75 - THE MAIN POINT, BRYN MAWR, PA
MC intro - INCIDENT ON 57TH STREET (8.10) / MOUNTAIN OF LOVE (2.56) / BORN TO RUN (4.15) / E ST SHUFFLE (12.26) / THUNDER ROAD (5.34) / I WANT YOU (6.00) / SPIRIT IN THE NIGHT (5.52) / SHE'S THE ONE (5.50) / GROWIN’ UP (3.10) / SAINT IN THE CITY (3.18) / JUNGLELAND (9.26) / KITTY'S BACK (11.10) / NEW YORK CITY SERENADE (16.58) / ROSALITA (10.09) / SANDY (6.17) / A LOVE SO FINE (7.13) / FOR YOU (7.03) / BACK IN THE USA (6.17)
ONE show, held as a benefit for the club, with Springsteen & The ESB the sole act on the bill. The show was MC’d by DJ Ed Sciaky and began just after 9pm. It was not a true simulcast, rather it was broadcast by WMMR-FM on about a 2hr delay the same night. An attendee review of the show from 1975 by critic David Fricke (see NEWS below) states the show took place on Feb 3rd - but this appears to be a date error by Fricke given detailed interview comments by Sciaky (see below) and the recollections of other attendees.
The complete show was broadcast and the above-noted 18-song setlist represents the entire concert. Not only is it one of the longest (160 minutes) single-show gigs up to this point but it's one of the most compelling performances of Springsteen's entire career. There are spellbinding renditions of “Incident", “New York City Serenade” and "For You", as well as the earliest known performance of "Thunder Road" (with work-in-progress title/lyrics) plus a wild, majestic version of Chuck Berry's "Back In The USA".
This famous show had circulated on vinyl boots and tapes since the mid-1970's, but rarely the entire show (early vinyl boots were missing the final 6 songs in the setlist) and always in variable quality. The entire performance is now available in outstanding (though not flawless) sound quality on the CDs ‘THE SAINT, THE INCIDENT & THE MAIN POINT SHUFFLE’ (Gdr), ‘YOU CAN TRUST YOUR CAR’ (Labor of Love) and most recently (and in the finest overall quality yet) on ‘MAIN POINT NIGHT’ (Crystal Cat).
The final 55 minutes or so of this show (i.e., from “NYC Serenade” onwards) has never surfaced in collector circles in quite as crisp, clear and dynamic a sound quality as the rest of the show. There are a couple of possible explanations for this but the most likely reason is that the early part of the show has been sourced from pre-broadcast reels (or copies of them) but the later part of the show is sourced from a broadcast reel (which involves compression). In an interview in Backstreets Magazine #82 Ed Sciaky mentioned some important information --- "We didn't have a phone line from the Main Point, so they had to tape the show in hour-long segments and then drive them to the station and put them on the air…and after the final reel had played, Bruce's lighting guy Marc Brickman (nb – the Lighting Director) took all of the tapes. So we (WMMR) never got a good copy of the show”. Note: Contrary to myth the police siren heard at the conclusion of “Incident” was an audio prop that had been utilized at a few of Bruce’s shows just prior to this one (i.e., it wasn’t a real vehicle). Also – a promotion-only, 7” flexidisc issued to subscribers of Austrian pop magazine ‘Rennbahn Express’ in June 1981 contains MC Sciaky’s intro from this show, albeit edited to avoid references to WMMR and The Main Point.
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5/23/2011- An utter embarrassment... ticketing failures too many to list.
i caught this way too late.
did you listen?
one of the legendary philly shows huh
niiiiice
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