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Weinberg to be replaced by son on Springsteen Europe shows

from uk.news.yahoo.com

Bruce Springsteen’s regular E Street Band drummer Max Weinberg will be replaced by his son in a string of European shows this summer, so his dad can concentrate on his TV career.

Weinberg’s band The Max Weinberg Seven will take over as the house band on America’s Tonight Show in June – and the group’s first TV appearances in Los Angeles coincide with Springsteen’s shows in Europe.

So the respected drummer has offered up his talented 19-year-old son, Jay, as his E Street Band replacement.

In a statement, Springsteen jokes, “We promise to return him (Jay Weinberg) in one piece.”

Max Weinberg joined the E Street Band in 1974 and hasn’t missed a single show since. His son, who drums for heavy metal band The Reveling, has reportedly been rehearsing with the E Street Band in New Jersey for the past week.

E Street Band guitarist Steve Van Zandt recently told Rolling Stone magazine he couldn’t imagine touring without Max Weinberg: “It’s hard for me to picture a show without Max, honestly … There’s no drummer that could replace Max. There might be someone temporary that comes in and we’ll have to adjust the show accordingly.

“What nobody understands is that not only is Max a great drummer, Max reads Bruce’s mind. You can’t learn that. That’s impossible to learn. You could spend months rehearsing and you’ll never get that.”

Jay Weinberg becomes the latest rock offspring to replace his father in current classic rock line-ups – Rick Wakeman’s son Adam has taken over keyboard duties in Yes and Jurgen Blackmore has taken his father Ritchie’s place in the reunited Rainbow line-up. Meanwhile, Eddie Van Halen’s teenage son Wolfgang has signed on as Van Halen’s permanent bass player.

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March 23, 2009 Posted by | Bruce Springsteen, Max Weinberg, _MUSIC | Leave a comment

Suicide / Bruce Springsteen – Dream Baby Dream

Suicide would prove as influential as The Clash. Listening to their self-titled 1977 debut from the vantage point of late 2002, it’s all so obvious: the synthpop, techno, and industrial dance sounds of the ’80s and ’90s, and now the new New Wave of electroclash, all gesture back to that foundational album.

– Wilson Neate

A seminal track from Messrs. Alan Vega and Martin Rev, AKA the hugely influential Suicide!

With assistance from Ric Ocasek of The Cars and the inspirational figures of Englishman Michael Zilkha and Frenchman Michel Esteban (the brains behind ZE, New York’s then newest and hippest record label), the group released this famous track as the double A side single “Dream Baby Dream/Radiation” back in 1979.

The lyrics here won’t exactly win the Nobel literature prize, but the song is about much more than that and is a wonderful powerful piece nevertheless.

A song way ahead of its time, with a beautifully obsessive tone and lush, repetitive structure, Dream Baby Dream is now regarded as the classic Suicide record.

Suicide went on to be a huge influence on a slew of bands the likes of Joy Division, U2, New Order, Stereolab, Sisters of Mercy, Radiohead, The Cars and even Bruce Springsteen.

Springsteen used an interesting pared down solo keyboard version of “Dream Baby Dream” to close the concerts on his 2005 Devils & Dust Tour. See below.

Some good Suicide links:

keep that flame burnin’
keep that flame burnin’
forever

dream baby dream
dream baby dream
forever, and ever
forever, and ever

I see that smile on your face
yeah
yeah, makes you free
I see that smile
oh..

dream baby dream
dream baby dream
dream baby dream
dream baby dream
forever …

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March 23, 2009 Posted by | Bruce Springsteen, Music_Electronica, Music_Punk, Suicide, _MUSIC, _VIDEO | Leave a comment

Bruce Springsteen – Lost Masters Essential Collection 1-2

Image

LOST MASTERS ESSENTIAL COLLECTION
Bruce Springsteen
Labour of Love Label
VBR MP3

This is a truly legendary series, containing outtakes and rehearsals from albums such as DARKNESS ON THE EDGE OF TOWN, THE RIVER, BORN IN THE U.S.A. and NEBRASKA. This first post contains the two LOST MASTERS ESSENTIAL COLLECTION 2-CD sets. And although this supposedly takes the best from that 19-CD set, there are still countless gems to be uncovered in those nineteen discs, and I’ll be uploading all of them next.

Disc 1: (68:12)

1. Badlands #2 (3:44) – w/ different lyrics
2. Adam Raised A Cain (4:07) – w/ different lyrics
3. Roulette (3:43) – original version
4. Chain Lightning (2:35)
5. Night Fire (5:08)
6. I Don’t Want To Be (3:42)
7. Find It Where You Can #2 (4:11)
8. Out On The Run (Looking For Love) #3 (3:11) – aka “Looking For Love”
9. I Wanna Be With You (3:19)
10. The Price You Pay (5:38) – alternate take w/ 12 string guitar & accordian
11. Stolen Car #1 (4:40)
12. Cindy #2 (2:31) – alternate take w/ Clarence’s harmony vocals
13. Ricky Wants A Man Of Her Own (3:01) – alternate take
14. She’s A Rocker #1 (3:24) – Take #4
15. Hungry Heart #1 (3:34) – alternate mix
16. Pipeline (2:01)
17. Held Up Without A Gun (1:18) – Miami Steve on lead vocals
18. Two Hearts #8 (3:31) – Rehearsals
19. Jeannie Needs A Shooter #2 (2:38) – Acoustic Demo
20. All I Need (2:14)

Notes:

* Tracks 1-2 “Darkness On The Edge Of Town” studio sessions, Atlantic Studios or The Record Plant, New York City, NY August 1977
* Track 3 “The River” studio sessions, The Power Station, New York City, NY 04/03/79
* Tracks 4-5 Studio rehearsals w/ The E Street Band, Telegraph Hill Studio, Holmdel, NJ 03/30/79
* Track 6 Studio rehearsals w/ The E Street Band, Telegraph Hill Studio, Holmdel, NJ 09/16/79
* Tracks 7-8 Studio rehearsals w/ The E Street Band, Telegraph Hill Studio, Holmdel, NJ 1979
* Tracks 9-11 & 15 “The River” studio sessions, The Power Station, New York City, NY 06/21/79
* Tracks 12-13 “The River” studio sessions, The Power Station, New York City, NY 07/20/79
* Track 14 “The River” studio sessions, The Power Station, New York City, NY 1979-80
* Tracks 16-18 Studio rehearsals w/ The E Street Band, Telegraph Hill Studio, Holmdel, NJ 02/22/80
* Track 16 is mistakenly listed as “Walk, Don’t Run”
* Track 19 Solo acoustic demos, Holmdel, NJ March – April 1979
* Track 20 soundcheck, Brendan Byrne Arena, The Meadowlands, East Rutherford, NJ 07/08/81

Disc 2: (72:43)

1. Pink Cadillac (5:25)
2. Baby I’m So Cold (Turn The Lights Down Low) (3:48)
3. Glory Days (2:04)
4. Protection (3:29)
5. TV Movie (2:46)
6. County Fair #2 (4:55) – full band version w/ female vocals
7. Bye Bye Johnny #5 (3:44) – aka “Johnny Bye-Bye”
8. Richfield Whistle (6:35)
9. Unsatisfied Heart (5:27)
10. Cynthia (3:30) – solo version
11. Don’t Back Down #2 (3:05) – electric version
12. Don’t Back Down #7 (2:34) – acoustic version in key A
13. Don’t Back Down #10 (3:14) – different music & double track vocals
14. One Love (4:37)
15. Follow That Dream #1 (4:03)
16. Your Hometown #1 (3:38) – rockabilly version
17. Sugarland #1 (2:48) – rockabilly version
18. Living In A Doll House #1 (2:20) – aka “Dollhouse”
19. Living In A Doll House #2 (0:55) – harmonies – aka “Dollhouse”
20. Point Blank (0:58) – harmonies & guitar practice
21. Slow Fade (2:46) – earliest known version of “Fade Away”

Notes:

* Track 1 Solo acoustic demo for “Nebraska”, Colts Neck, NJ December 1981 – January 1982
* Tracks 2-3 Solo acoustic demos, Hollywood Hills, Los Angeles, CA early 1983
* Track 4 “Born In The U.S.A.” studio sessions, The Hit Factory, New York City, NY 08/01/83
* Tracks 5-6 “Born In The U.S.A.” studio sessions, The Power Station, New York City, NY 11/09/83
* Tracks 7-17 Solo studio demos for “Born in the U.S.A.”, Hollywood Hills Garage Studio, Los Angeles, CA
* Tracks 7-10 January – May 1983
* Tracks 11-12 01/18/83
* Tracks 13-14 August 1982 – April 1983
* Tracks 15-17 01/30/83
* Tracks 18-20 Solo acoustic demos, Holmdel, NJ June 1979
* Track 21 Solo acoustic demo, Holmdel, NJ 1979
* Tracks 18-21 are exclusive to this release and are not included on any other THE LOST MASTERS titles

Image

Disc 1: (71:40)

1. Prove It All Night (3:32) – w/ different lyrics
2. Factory (2:13) – w/ different lyrics
3. Sherry Darling (4:06)
4. Independence Day (6:26) – original version
5. Drive All Night #1 (8:29) – original version
6. The Promise (5:28)
7. Candy’s Boy #1 (5:25)
8. Racing In The Street #1 (6:16) – alternate version w/ harp
9. One Way Street (5:51)
10. I Wanna Marry You #1 (3:36) – alternate take w/ new vocal
11. Walking On The Avenue #2 (3:43)
12. Baby Come Back (2:05)
13. Living On The Edge Of The World #3 (4:21)
14. Jole Blon #1 (4:46)
15. Restless Nights #8 (5:15)

Notes:

* Tracks 1-10 “Darkness On The Edge Of Town” studio sessions
* Tracks 1-2 Atlantic Studios or The Record Plant, New York City, NY August 1977
* Track 3 Atlantic Studios, New York City, NY June-August 1977
* Track 4 The Record Plant, New York City, NY September 1977
* Tracks 5, 7 & 9 Atlantic Studios, New York City, NY June 1977
* Tracks 6 & 8 Atlantic Studios, New York City, NY August 1977
* Track 10 “The River” studio sessions, The Power Station, New York City, NY 07/20/79
* Tracks 11-12 Solo acoustic demos, Los Angeles, CA early 1979
* Tracks 13-15 Studio rehearsals w/ The E Street Band, Telegraph Hill Studio, Holmdel, NJ
* Track 13 11/15/79
* Tracks 14-15 01/11/80

Disc 2: (74:28)

1. Wreck On The Highway (3:32) – country version
2. Slow Fade #3 (3:18) – aka “Fade Away”
3. Jackson Cage #2 (2:58) – different music & lyrics
4. Stockton Boys #2 (1:26)
5. Stockton Girls (1:45)
6. You Can Look (But You Better Not Touch) #2 (2:46) – reggae version
7. You Gotta Be Kind (2:01)
8. Fade To Black #1 (4:14)
9. Born In The U.S.A. (3:04)
10. Child Bride (5:26)
11. Working On The Highway (3:15)
12. Glory Days (5:27)
13. My Love Will Not Let You Down (4:23)
14. Frankie (7:39)
15. Delivery Man #1 (2:19)
16. Little Girl #1 (1:25) – double track vocals
17. Sugarland #3 (2:28) – country version
18. The Klansman (2:57)
19. Betty Jean (2:21)
20. Seven Tears (1:59)
21. Jackson Cage (1:49)
22. Stolen Car (3:26)
23. James Lincoln Dear (4:17)

Notes:

* Tracks 1-3 Studio rehearsals w/ The E Street Band, Telegraph Hill Studio, Holmdel, NJ
* Track 1 01/11/80
* Tracks 2-3 02/05/80
* Tracks 4-8 Solo studio demos, Holmdel, NJ
* Tracks 4-7 January 1980
* Track 8 07/08/81
* Tracks 9-10 Solo acoustic demos for “Nebraska”, Colts Neck, NJ December 1981-January 1982
* Track 11-14 “Born In The U.S.A.” studio sessions, The Hit Factory, New York City, NY
* Tracks 11 & 14 May 1982
* Tracks 12-13 January-May 1983
* Tracks 15-20 Solo studio demos for “Born in the U.S.A.”, Hollywood Hills Garage Studio, Los Angeles, CA
* Track 15 January-May 1983
* Tracks 16-17 & 19 August 1982-April 1983
* Tracks 18 & 20 01/04/83
* Tracks 21-22 Bruce sings new lyrics over the music of “Restless Nights” from a tape of band rehearsals, early 1980
* Track 23 Solo acoustic demo for “Nebraska”, Holmdel, NJ 1981-82
* Track 21-23 are exclusive to this release and are not included on any other THE LOST MASTERS titles

Enjoy!

http://rapidshare.com/files/200418857/BSELM12.part1.rar
http://rapidshare.com/files/200430502/BSELM12.part2.rar
http://rapidshare.com/files/200432728/BSELM12.part3.rar
http://rapidshare.com/files/200444116/BSELM12.part4.rar
http://rapidshare.com/files/200446774/BSELM12.part5.rar
http://rapidshare.com/files/200458074/BSELM12.part6.rar

thanks  http://rockbarbarian.blogspot.com/

NOTE:

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Any content linked to here is only meant as a taster for the original work itself and is posted on the strict understanding that anyone who downloads the taster, deletes said content within 24 hours. We would assume that these fans will then buy the original work and we greatly encourage them to do so.

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February 23, 2009 Posted by | Bruce Springsteen, _MUSIC | Leave a comment

Oscar Slumdog Lovefest Yawnfest

This must’ve been the most predictable Oscars in ages!

In a year of disappointing movie quality, Slumdog was a well made and enjoyable film but really was a hackneyed Romeo and Juliet type tale transplanted somewhere exotic with Fernando Meirelles “City of God” influenced cinematography, a few Bollywood moments and a frantic masala beat.

Even from amongst those listed as nominees, in our view the magnificent “Frost Nixon” and the excellent gritty “The Wrestler” were far better.

The only shock of the night was the unbelievable snub of Mickey Rourke, whose performance in “The Wrestler” was the finest seen in many a year! Truly peerless!

However, Mickey had been shooting his mouth off a bit too much lately (as he is more than wont to do!) especially making a comment after the SAG awards about GW Bush not being such a bad President! A dumb thing to say at any time but incredibly dumb a few weeks before an army of Democratic fanatics are voting for you in a race against an avowed leftie Democrat who’s playing a gay liberal anti-establishment politician!!

Also disappointing was the snub of Bruce Springsteen‘s fine title track from “The Wrestler” as Best Original Song.

At least though, the awful Brangelina circus duo went home in a huff! Why were they even nominated? Brad sure as hell won’t be getting laid tonight!

And the crazy Benny Button fiasco won no significant award despite an insane 66 nominations or something!

Larry King, who played the young Benny Button was very disappointed!

We had expected a new category this year. The Oscar for “Best Psychotic Egotistical Screaming Pussyfit“! Christian Bale would’ve been a shoo in!

(CNN) —

“Slumdog Millionaire,” the little film about a poverty-raised teaboy who goes on a game show as a way to find his lost love, won best picture Sunday night, earning a total of eight Oscars at the 81st annual Academy Awards.

The late Heath Ledger won best supporting actor for playing the Joker in “The Dark Knight.”

As the stage filled with the film’s huge cast, producer Christian Colson talked about “Slumdog’s” “extraordinary journey.”

“Most of all we had passion and we had belief, and our film shows if you have those two things, you have everything,” said Colson.

“Millionaire’s” other honors included best director (Danny Boyle), best adapted screenplay (Simon Beaufoy), score (A.R. Rahman), song (“Jai Ho,” co-written by Rahman), cinematography (Anthony Dod Mantle), sound mixing and film editing. List of winners, nominees

Boyle literally jumped up and down as he accepted his award, saying that if he ever won he’d bounce like Tigger from “Winnie-the-Pooh.”

Rahman was equally appreciative as he accepted one of his Oscars.

“All my life I’ve had a choice between hate and love, and I chose love, and now I’m here,” said Rahman. Photo Gallery: See what the stars are wearing »

Sean Penn won best actor for “Milk.”

“You commie homo-loving sons of guns,” Penn began, to laughter. “I did not expect this, and I wanted to be very clear that I do know how hard I make it to appreicate me, often. But I am touched by the appreciation.”

He also put in a plug in support of gay marriage. “We’ve got to have equal rights for everyone,” he said.

Kate Winslet won best actress for her performance in “The Reader.”

Upon thanking her mother and father, she asked her dad to whistle so she could know where he was in the audience — and then heard a loud toot from one corner.

“I think we can’t believe we were in the category with Meryl Streep at all,” she said, paying tribute to her fellow “goddesses” up for best actress.

Heath Ledger won best supporting actor for his performance as the Joker in “The Dark Knight.”

His parents and sister accepted the award for the actor, who died in January 2008.

“This award tonight would have humbly validated Heath’s quiet determination to be truly accepted by you all here — his peers — within an industry he truly loved,” said Ledger’s father, Kim.

Ledger is only the second actor to win a posthumous actor. Peter Finch won best actor for 1976’s “Network” two months after he died in early 1977.

Penelope Cruz won the first Oscar of the night, a best supporting actress honor for “Vicky Cristina Barcelona.”

“Has anybody ever fainted here? Because I might be the first one,” she said, before paying tribute to writer-director Woody Allen, who oversaw “Vicky Cristina,” and writer-director Pedro Almodovar, who gave her some of her best roles. She then thanked “everyone who has helped me from the beginning.”

Dustin Lance Black, who won original screenplay for “Milk,” gave an impassioned speech in favor of gay rights.

“If Harvey [Milk, the subject of the film] had not been taken from us 30 years ago, I think he would want me to say to all the gay and lesbian kids out there tonight who have been told they are less than by the churches, by the government, by their families,” Black said, “that you are beautiful, wonderful creatures of value, and that no matter what anyone tells you, God does love you and that very soon, I promise you, you will have equal rights, federally, across this great nation of ours.”

“Milk” concerns Harvey Milk, the first openly gay man elected to major public office. The film has also been in the spotlight because of Proposition 8, the California law against gay marriage that was the subject of a contentious campaign last year.

Two of the best-reviewed films of the year — “WALL-E” and “Man on Wire” — won Oscars. “WALL-E” won best animated feature, and “Man on Wire” won best documentary feature.

Philippe Petit, the star of “Man on Wire,” about Petit’s tightrope crossing between the World Trade Center towers in 1974, concluded his speech by balancing the Oscar upside-down on his chin.

Jerry Lewis received the Jean Hersholt Humanitarian Award.

True to the producers’ promise to give the Academy Awards more of a “party” tone, Hugh Jackman led off the show with cracks about downsizing — “Next year,” said the “Australia” star, “I’ll be starring in a movie called ‘New Zealand’ ” — then segued into a song-and-dance number he said he assembled in his garage.

Performing songs about each best picture nominee in various musical styles, with “homemade” backgrounds behind him, at one point he reached into the audience and physically lifted Anne Hathaway on stage to play Richard Nixon in “Frost/Nixon.” Blog: Behind the scenes

Then the gregarious host paid tribute to various celebrities in the audience as if pointing out VIPs in a nightclub.

Jackman also did a musical number with Beyoncé, the two performing a medley of songs from Hollywood’s musical golden era, as well as more recent films such as “Grease,” “Moulin Rouge” and “Mamma Mia.”

At another point in the show, Ben Stiller parodied Joaquin Phoenix’s recent “Late Show with David Letterman” appearance, wearing a thick beard and lazily chewing gum. He cracked up his co-presenter, Natalie Portman, by wandering around the stage.

Some of the nominees have said they’re surprised to even be at the Oscars. Melissa Leo, nominated for best actress for “Frozen River,” said nothing has compared with the Oscar experience.
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“[The film] has given me an extraordinary year,” she told CNN. “But to be here tonight … it’s so humongous.”

Oscar outfits were generally elegant and classic, with most men wearing tuxedos (including the young members of the “Slumdog” cast) and women in beautiful, sometimes muted, gowns. Viola Davis (“Doubt”) wore gold; Freida Pinto (“Slumdog Millionaire”) opted for a rich blue. Anne Hathaway wore a glittery — and snug — Armani mermaid gown.

The following is a complete list of winners at the 81st annual Academy Awards.

Best picture
“The Curious Case of Benjamin Button”
“Frost/Nixon”
“Milk”
“The Reader”
WINNER: “Slumdog Millionaire”

Director
WINNER: Danny Boyle, “Slumdog Millionaire”
Stephen Daldry, “The Reader”
David Fincher, “The Curious Case of Benjamin Button”
Ron Howard, “Frost/Nixon”
Gus Van Sant, “Milk”

Actor
Richard Jenkins, “The Visitor”
Frank Langella, “Frost/Nixon”
WINNER: Sean Penn, “Milk”
Brad Pitt, “The Curious Case of Benjamin Button”
Mickey Rourke, “The Wrestler”

Actress
Anne Hathaway, “Rachel Getting Married”
Angelina Jolie, “Changeling”
Melissa Leo, “Frozen River”
Meryl Streep, “Doubt”
WINNER: Kate Winslet, “The Reader”

Supporting actor
Josh Brolin, “Milk”
Robert Downey Jr., “Tropic Thunder”
Philip Seymour Hoffman, “Doubt”
WINNER: Heath Ledger, “The Dark Knight”
Michael Shannon, “Revolutionary Road”

Supporting actress
Amy Adams, “Doubt”
WINNER: Penelope Cruz, “Vicky Cristina Barcelona”
Viola Davis, “Doubt”
Taraji P. Henson, “The Curious Case of Benjamin Button”
Marisa Tomei, “The Wrestler”

Animated feature
“Bolt”
“Kung Fu Panda”
WINNER: “WALL-E”

Adapted screenplay
“The Curious Case of Benjamin Button,” screenplay by Eric Roth, screen story by Eric Roth and Robin Swicord
“Doubt,” written by John Patrick Shanley
“Frost/Nixon,” screenplay by Peter Morgan
“The Reader,” screenplay by David Hare
WINNER: “Slumdog Millionaire,” screenplay by Simon Beaufoy

Original screenplay
“Frozen River,” written by Courtney Hunt
“Happy-Go-Lucky,” written by Mike Leigh
“In Bruges,” written by Martin McDonagh
WINNER: “Milk,” written by Dustin Lance Black
“WALL-E,” screenplay by Andrew Stanton, Jim Reardon; original story by Andrew Stanton, Pete Docter

Art direction
“Changeling,” James J. Murakami; set decoration: Gary Fettis
WINNER: “The Curious Case of Benjamin Button,” Donald Graham Burt; set decoration: Victor J. Zolfo
“The Dark Knight,” Nathan Crowley; set decoration: Peter Lando
“The Duchess,” Michael Carlin; set decoration: Rebecca Alleway
“Revolutionary Road,” Kristi Zea; set decoration: Debra Schutt

Cinematography
“Changeling,” Tom Stern
“The Curious Case of Benjamin Button,” Claudio Miranda
“The Dark Knight,” Wally Pfister
“The Reader,” Chris Menges and Roger Deakins
WINNER: “Slumdog Millionaire,” Anthony Dod Mantle

Costume design
“Australia,” Catherine Martin
“The Curious Case of Benjamin Button,” Jacqueline West
WINNER: “The Duchess,” Michael O’Connor
“Milk,” Danny Glicker
“Revolutionary Road,” Albert Wolsky

Documentary feature
“The Betrayal (Nerakhoon)”
“Encounters at the End of the World”
“The Garden”
WINNER: “Man on Wire”
“Trouble the Water”

Documentary short
“The Conscience of Nhem En”
“The Final Inch”
WINNER: “Smile Pinki”
“The Witness — From the Balcony of Room 306”

Film editing
“The Curious Case of Benjamin Button,” Kirk Baxter and Angus Wall
“The Dark Knight,” Lee Smith
“Frost/Nixon,” Mike Hill and Dan Hanley
“Milk,” Elliot Graham
WINNER: “Slumdog Millionaire,” Chris Dickens

Foreign language film
“The Baader Meinhof Complex,” Germany
“The Class,” France
WINNER: “Departures,” Japan
“Revanche,” Austria
“Waltz with Bashir,” Israel

Makeup
WINNER: “The Curious Case of Benjamin Button,” Greg Cannom
“The Dark Knight,” John Caglione Jr. and Conor O’Sullivan
“Hellboy II: The Golden Army,” Mike Elizalde and Thom Floutz

Original score
“The Curious Case of Benjamin Button,” Alexandre Desplat
“Defiance,” James Newton Howard
“Milk,” Danny Elfman
WINNER: “Slumdog Millionaire,” A.R. Rahman
“WALL-E,” Thomas Newman

Original song
“Down to Earth” from “WALL-E,” music by Peter Gabriel and Thomas Newman, lyrics by Peter Gabriel
WINNER: “Jai Ho” from “Slumdog Millionaire,” music by A.R. Rahman, lyrics by Gulzar
“O Saya” from “Slumdog Millionaire,” music and lyrics by A.R. Rahman and Maya Arulpragasam

Animated short
WINNER: “La Maison en Petits Cubes”
“Lavatory — Lovestory”
“Oktapodi”
“Presto”
“This Way Up”

Live-action short
“Auf der Strecke (On the Line)”
“Manon on the Asphalt”
“New Boy”
“The Pig”
WINNER: “Spielzeugland”

Sound editing
WINNER: “The Dark Knight,” Richard King
“Iron Man,” Frank Eulner and Christopher Boyes
“Slumdog Millionaire,” Glenn Freemantle and Tom Sayers
“WALL-E,” Ben Burtt and Matthew Wood
“Wanted,” Wylie Stateman

Sound mixing
“The Curious Case of Benjamin Button,” David Parker, Michael Semanick, Ren Klyce and Mark Weingarten
“The Dark Knight,” Lora Hirschberg, Gary Rizzo and Ed Novick
WINNER: “Slumdog Millionaire,” Ian Tapp, Richard Pryke and Resul Pookutty
“WALL-E,” Tom Myers, Michael Semanick and Ben Burtt
“Wanted,” Chris Jenkins, Frank A. Montaño and Petr Forejt

Visual effects
WINNER: “The Curious Case of Benjamin Button,” Eric Barba, Steve Preeg, Burt Dalton and Craig Barron
“The Dark Knight,” Nick Davis, Chris Corbould, Tim Webber and Paul Franklin
“Iron Man,” John Nelson, Ben Snow, Dan Sudick and Shane Mahan

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February 23, 2009 Posted by | Angelina Jolie, Bruce Springsteen, Christian Bale, Mickey Rourke, _CINEMA | Leave a comment

Springsteen electrifies Super Bowl

Put down the f*cking chicken fingers and step back from that dip!!

Brooce and the E Street band deliver a typically powerful performance cramming some real classics into the short 12 minute slot, replete with a slide across the stage right into the scared camera-man!

The idea of course was to promote the new album, but the title track of said LP, “Working On A Dream”, was a bit of a low point. As was that gab about f*cking Disneyland!

Bruce Springsteen rocks the Super Bowl in Tampa.

by Jay Lustig
The Star-Ledger

The Super Bowl was born at the height of the rock ‘n’ roll revolution. But it wasn’t until Super Bowl XLIII, tonight, that the game really rocked.

Bruce Springsteen’s performance was only 12 minutes. But it was 12 minutes of real rock ‘n’ roll. And by Super Bowl standards, that counts as a miracle.

He crammed four songs into that 12 minutes, with fireworks going off overhead and the crowd going nuts. At various points along the way, he slid across the front of the stage (appearing to collide with a camera), dropped to his knees, spun his guitar around his body, played windmill-style power chords, and ventured into the crowd to commune with fans.

He started out with a funny line: “I want you to step back from the guacamole dip. I want you to put the chicken fingers down, and turn your television all the way up!”

The band launched into the “Tenth Avenue Freeze-out. The song’s fanfare, deftly executed by a five-piece horn section, struck just the right over-the-top starting note, and its bar-band sensibility set just the right tone. It was a shortened version, followed by “Born To Run,” sounding as desperate and anthemic as ever.

Next came “Working On a Dream,” the title track from his new album. A choir joined him, spreading across the stage, but still, this song represented a momentary lull in the set.

Springsteen cut the song short, segueing into “Glory Days.” Originally a song about baseball, it became one about football: the singer’s friend threw a “hail Mary” instead of a “speedball.” As the worked toward the end, Springsteen bantered with guitarist Steven Van Zandt. Springsteen said he was worried about taking too much time, and sure enough, someone dressed as a referee came onstage and threw a flag.

Springsteen ended the set with the classic winner’s line: “I’m going to Disneyland!”

NOTE:

We do not host any files here. If this post contains a link to content hosted elsewhere, this is content found by a simple search on the worldwide freedom web. However, if for some valid reason, you object to a said content, or any content here, please let us know and we will remove the content in question.

Any content linked to here is only meant as a taster for the original work itself and is posted on the strict understanding that anyone who downloads the taster, deletes said content within 24 hours. We would assume that these fans will then buy the original work and we greatly encourage them to do so.

February 6, 2009 Posted by | Bruce Springsteen, Football_American, _MUSIC, _VIDEO | Leave a comment

10 songs the ‘Mad Men’ shouldn’t touch

10 songs the ‘Mad Men’ shouldn’t touch

By JIM FARBER
DAILY NEWS MUSIC CRITIC
January 29th 2009
http://www.nydailynews.com

There’s nothing more tired at this point than bitching about stars selling out their songs to Madison Avenue.

That battle is so last century.

Still, every so often a star’s shill retains the rare ability to bring up the bile.

For many, that moment will surely come when they hear about Bob Dylan selling his seminal ode “Blowin’ In The Wind” to a British company that pushes food stores, funeral homes, and financial services.

Of course, the company in question issued a lot of blather about their ethical concerns and progressive views. But, face it, it’s still a business and it’s still “Blowin’ In The Wind,” fer’chrissakes.

With that in mind, I’ve come up with ten songs most likely to make the public apoplectic should they be reduced to ads for adult diapers or sex-enhancement pills:

1) “Mother” John Lennon: The ultimate protest against hypocrisy from the angriest ex-Beatle just won’t do as a plug.

2) “Mercedes Benz” Janis Joplin: Actually, this satire of car-lust and rampant materialism already has been used in an ad – to sell Mercedes, no less.

3) “Volunteers of America” Jefferson Airplane:A song calling for the overthrow of the American government wouldn’t exactly sit right on Madison Avenue would it?

4) “Revolution” The Beatles: Another anti-conformity anthem that, again, has already been subverted in a Nike ad. Blame Michael Jackson, who held the rights to the catalogue at the time.

5) “Born to Run” Bruce Springsteen: Let’s just hope it never turns up as a car spot.

6) “God Save The Queen” Sex Pistols: One of the most deliciously nasty hits in history needs to keep its fangs unsullied and sharp.

7) “Smells like Teen Spirit” Nirvana: Can you imagine just how many somersaults Kurt Cobain’s body would do in his grave should this happen?

8) “People Get Ready” Curtis Mayfield and The Impressions: One of the most stirring civil rights anthems in history needs to stay pure.

9) “Won’t Get Fooled Again” The Who: It’s bad enough that it turned up as a theme song in a nighttime drama. We couldn’t take any deeper desecration.

10) “The Times They Are a Changin'” Bob Dylan: The irony would cut too deep.

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January 30, 2009 Posted by | Bruce Springsteen, John Lennon, Nirvana, The Beatles, _ARTICLE, _BOB DYLAN, _MUSIC | Leave a comment

Barack Obama’s “We Are One Concert” – 18 January 2009


Barack Obama’s “We Are One Concert”
18 January 2009

mp3/ 150mb
Some very strange contributors here – what the fuck are the likes of Jack Black and Marisa Tomei doing here? (unless perhaps Marisa did a spot of stripping as in “The Wrestler”!) – and a fair bit of muzak – Garth Brooks et al – but a historic document nonetheless.

Great to hear folk stalwart Pete Seeger perform the classic This Land with Bruce Springsteen, and the Boss perform the best song of the day in “The Rising”.

Where’s Bob Dylan though? We thought Obama was a big fan!

We never knew Boner and ‘Shakira the Screama’ were Americans!! They say you learn something new every day. With us, it’s once every year!

Man, it sure looked cold there! We hope ‘Shakira the Screama’ wore her thermal g-string!

Bey: “Are you grabbing my tit there, Brucie?”

Tracklisting

01. Various – Concert Intruducion.mp3″
02. Various – The Star Spangled Banner.mp3″
03. Denzel Washington – Speech.mp3″
04. Bruce Springsteen – The Rising.mp3″
05. Laura Linney & Martin Luther King III – Speech.mp3″
06. Mary J. Blige – Lean On Me.mp3″
07. Steve Carell & Jamie Foxx – Speech.mp3″
08. Bettye Lavette And Jon Bon Jovi – Long Time Coming.mp3″
09. Tom Hanks – Speech.mp3″
10. Marisa Tomei – Speech.mp3″
11. James Taylor, John Legend & Jennifer Nettles – Shower The People.mp3″
12. Joe Biden – Speech.mp3″
13. John Mellencamp – Pink Houses.mp3″
14. Queen Latifah – Speech.mp3″
15. Josh Groban & Heather Headley – Freedom Ring.mp3″
16. Kal Penn & George Lopez – Speech.mp3″
17. Herbie Hancock, Will.I.Am & Sheryl Crow – One Love.mp3″
18. Tiger Woods – Speech.mp3″
19. Renee Fleming – Medley.mp3″
20. Jack Black & Rosario Dawson – Speech.mp3″
21. Garth Brooks – American Pie-Shout-We Shall Be Free.mp3″
22. Ashley Judd & Forest Whitaker – Speech.mp3″
23. Usher, Stevie Wonder, & Shakira – Higher Ground.mp3″
24. Samuel L. Jackson – Speech.mp3″
25. U2 – Pride (In The Name Of Love)-City Of Blinding Lights.mp3″
26. Various – Bald Eagles Presentation.mp3″
27. Barack Obama – Speech.mp3″
28. Pete Seeger With Bruce Springsteen – This Land.mp3″
29. Beyonce & Cast – America The Beautiful.mp3″
30. Various – Concert Credits.mp3″


Beyoncé – America The Beautiful
“We Are One Concert”

We found a link for this historic bootleg … that means it’s not our link, Internet Nazis!

http://rapidshare.com/files/186346215/O … .18.09.zip


Thanks GG


Note: The poster adds;
My version of Winrar does not like the ” in the directory name. To extract it, I manually created a target folder, then in Winrar opened the archive & the il-named folder within. The I selected all and told it to extract to the destination folder. Before clicking OK, I clicked on the Advanced tab and told it “do not extract paths”.

NOTE:

We do not host any files here. If this post contains a link to content hosted elsewhere, this is content found by a simple search on the worldwide freedom web. However, if for some valid reason, you object to a said content, or any content here, please let us know and we will remove the content in question.

Any content linked to here is only meant as a taster for the original work itself and is posted on the strict understanding that anyone who downloads the taster, deletes said content within 24 hours. We would assume that these fans will then buy the original work and we greatly encourage them to do so.

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January 20, 2009 Posted by | Barack Obama, Beyonce Knowles, Bono, Bruce Springsteen, Joe Biden, Marisa Tomei, Pete Seeger, Shakira, _MUSIC, _VIDEO | Leave a comment

Bruce Springsteen – The Wrestler


I always leave with less than I had before. You’ve seen me. Bet I can make you smile when the blood hits the floor.

– Bruce Springsteen

I’m an old broken down piece of meat and I deserve to be all alone, I just don’t want you to hate me.


Randy ‘The Ram’ Robinson:
(Robert D. Siegel – writer)


This fine track – the title track from auteur Darren Aronofsky’s brilliant new film, The Wrestler – rightly won the Boss a Golden Globe last week for Best Original Song.

A brooding, powerful meditation on a flailing, failing soul, performed in a simple and pared down style, it’s another sublime Springsteen song.

We’re shocked that this fine song won actually, since in these award shows, it’s usually the worst piece of shit dirge that wins (and usually by the likes of cretins such as Celine Dion!)

This time, the representative of that ridiculous ilk – “I Thought I Lost You” by Miley Cyrus (yes, Miley fucking Cyrus! Oh, the horror!!) and Jeffrey Steele – very thankfully lost out!

Of course, the amazing Mickey Rourke also deservedly won a Golden Globe for Best Performance by an Actor in a Motion Picture for his role as Randy ‘The Ram’ Robinson !

Mickey really brings the character to life and imbues him with deep complexity as well as great vulnerability. Physically too, of course, Mickey’s many hard years in his own life, and his long crazy stint as a pro boxer, have written their trails onto his face and body, as would have been the case for the character he portrays – Randy ‘The Ram’ Robinson!

All we can say is thank fuck Nicolas Cage (once a very good actor but, for many years now, not so, and actually nowadays a Jonah for any movie) who was originally slated for the role, was for whatever reason gently pushed aside from the project by Aronovsky in favour of Rourke.

It’s great to see Mickey – a man who pissed his preternatural talent away for decades – back where he belongs! Hopefully the Oscar will be winging its way to him in a few weeks!

The Wrestler is a wonderful film, typically well directed by Aronofsky from a fine script by Robert D. Siegel, with Rourke’s towering performance a standout, but with great support work too from Marisa Tomei (who we’re normally not big fans of!)

Marisa sure looks good for a chick who’s just turned 44 and does some very fine gyrating work as a stripper … sorry, “Exotic Dancer” … or “Erotic Hooker” … or some phrase that means stripper!
Very convincing performance too …. not that we’d really know, not having ever been in a Strip Club (… well, not today anyway!)! Maybe Marisa tread the boards in one of the clubs during those very lean years there after the “Cousin Vinny” limelight faded many years ago!!

We’re only kidding Mr. Attorney for Maria Tomei! Only kidding!

Anyway, here’s a trailer for the film;

Bruce Springsteen and Mickey Rourke go back a long way! They first met at the Stone Pony back in the eighties and soon after became motorcycle cruising buddies in 1989 and 1990 when Springsteen was living in Los Angeles, CA.

Rourke owned a short-lived club in Los Angeles called Rubber Club, and Springsteen is known to have made two onstage appearances in that club; on 10 Mar 1989, he joined local band The Mighty Hornets for one song (CC RIDER) and, on 25 Apr 1989, he joined an unidentified local band onstage for one song – (STAND BY ME).

"The Wrestler" theatrical poster from IMP Awards "The Wrestler" theatrical release poster

According to film director Darren Aronofsky, Springsteen is a huge fan of Rourke’s. He’s seen every movie of his and he was hoping for him to get back on track making movies. He was following him and he wanted to know about his projects, but the two “haven’t been in touch during Mickey’s lost years”.

Rourke sent Springsteen a letter and a copy of the movie script. In May 2008, Springsteen called him in the middle of the night and told him that he’s in touring in Europe, and said that he “don’t know if I can do this, but if I can, I’ll try something.”

Patti Scialfa, Bruce Springsteen, and Mickey Rourke at the 66th Golden Globe Awards ceremony

Springsteen was presented with his Golden Globe statuette last week by some Amazonian Indian called Sting.

In his acceptance speech, Bruce briefly talked about how the song came to life:

“All right! This is uh… the only time I’m gonna be in competition with Clint Eastwood, I know that for sure [laughs]. Felt pretty good, too! [giggles]

Anyway, Mickey called me in Ireland and he asked me for uh… some music, he told me a little bit about the character, he said some people invest themselves in their pain and they turn away from love and the things that strengthen and nurture their lives. He said this was a guy that didn’t figure… hadn’t figured that out. So I said, ‘Well, I know a couple of those guys…’

And so, the song. So… first and foremost, I’d like to thank Mickey. Without the call I wouldn’t have written the song, without his inspiration. Thank you brother, for a beautiful performance, thank you. Thank you for thinking of me!

Um… like to thank Darren and all the folks involved with the film for letting me be a small part of their picture, thank you. Uh… love to my strong and lovely wife Patti, and hello to Evan, Jess, and Sam at home. Happy birthday, Big Man Clarence Clemons!”

Springsteen wrote THE WRESTLER in Europe during the Magic Tour, sometime between late May and early July 2008. In July, he called Rourke and Aronofsky complimenting them on the movie and adding that he wrote a song for the film’s character.

Rourke and Aronofsky went to see Springsteen in concert at Giants Stadium in late July 2008. Rourke introduced his director to Springsteen who picked up his guitar and proceeded to play his new composition. “I literally got stage fright,” Aronofsky told MTV. “I never knew what stage fright was! My chin just went down, and I said in my head, ‘Oh my God, I’m freezing up in front of Bruce Springsteen.'”

Aronofsky told MTV, “Then we started talking, and then he played the song, and it was amazing. And he’s like, ‘I don’t know if it’s good yet.'” Then Springsteen offered the song for free.

The song came while the movie was at the end of its editing phase. This late addition caused the movie’s screening debut to take place at the end of the Venice Film Festival.

On THE WRESTLER, Springsteen handles guitar, piano, and vocals. Director Darren Aronofsky described it as “a wonderful acoustic piece; makes me choke up every time I hear it. [Springsteen] really captured the spirit of the film and Mickey [Rourke]’s character in the piece.”

The song, as heard over the film’s closing credits, opens and closes with a long coda, clocking at 5:25.

However, the track will be released in a 3:50 edited version on the Boss’s Working On A Dream album.

Yes, the song is included as a bonus track on the Springsteen’s excellent new LP Working On A Dream which continues on where 2007’s fine “Magic” left off.

We saw some good stuff about the Working On A Dream LP on another blog.

THE WRESTLER, the album’s third single, was officially released on 16 Dec 2008 at the iTunes Store, in advance of the film’s U.S. major cities openings in the subsequent days. This is the album version with the edited opening and closing codas.

The song was also released, but in its unedited form, on a US-only 1-track promotional CD-R issued exclusively to Academy Award voters by film distributors Fox Searchlight Pictures for consideration in the Best Original Song category. The CD-R comes in slimline jewel case without artwork [see scan below (right)], and contains the full, unedited 5:25 version of THE WRESTLER with intact piano outro.

Like we wish for Mickey, we hope that, in a few weeks, the Boss follows up his 1993 Academy Award for “Streets of Philadelphia” with another one for this marvellous track!!

How Mickey Rourke Got Bruce Springsteen’s ‘Wrestler’ Song — For Free ‘

Mickey wrote him a very long, heartfelt letter,’ director Darren Aronofsky says of Golden Globe-winning song.

By Garth Bardsley, with reporting by Kurt Loder

www.mtv.com

Finding music for a film isn’t typically an actor’s job, but in the case of Bruce Springsteen’s theme song to “The Wrestler,” which won a Golden Globe last night for Best Original Song, the Boss has actor Mickey Rourke to thank for adding yet another trophy to his collection. In a conversation last month with Kurt Loder, Rourke and “Wrestler” director Darren Aronofsky shared how they convinced Springsteen to pen the tune — for nothing.

“Mickey knows the Boss from years ago,” Aronofsky said, “but they haven’t been in touch during Mickey’s lost years. … And Mickey wrote him a letter — a very long, heartfelt letter — and sent him the script.”

Obviously Rourke — who also won a Golden Globe last night, for Best Lead Actor in a Motion Picture Drama — was willing to put his heart and soul into making sure “The Wrestler” would succeed. In what is being considered a major comeback for the once-forgotten actor, the role is now making him a favorite for an Oscar nomination.

Apparently his letter-writing skills are quite good, too. According to Aronofsky, “The Boss called Mickey in the middle of the night and said, ‘I’m in Europe and I’m touring, and I don’t know if I can do this, but if I can, I’ll try something.’ “

About a month later, the duo went to see Springsteen in concert at Giants Stadium. After Rourke introduced his director to the Boss, Springsteen picked up his guitar and proceeded to play the now award-winning tune.

“I literally got stage fright,” Aronofsky said. “I never knew what stage fright was! My chin just went down, and I said in my head, ‘Oh my God, I’m freezing up in front of Bruce Springsteen.'”

“Then he played the song,” said Rourke. “Right,” said Aronofsky. “Then we started talking, and then he played the song, and it was amazing. And he’s like, ‘I don’t know if it’s good yet.’ “

Apparently, the Golden Globe voters thought it was! “

Anyway, he’s a normal guy,” Aronofsky said. “And then he gave us the song for free.”


Have you ever seen a one trick pony in the field so happy and free?
If you’ve ever seen a one trick pony then you’ve seen me
Have you ever seen a one-legged dog making its way down the street?
If you’ve ever seen a one-legged dog then you’ve seen me

Then you’ve seen me, I come and stand at every door
Then you’ve seen me, I always leave with less than I had before
Then you’ve seen me, bet I can make you smile when the blood, it hits the floor
Tell me, friend, can you ask for anything more?
Tell me can you ask for anything more?

Have you ever seen a scarecrow filled with nothing but dust and wheat?
If you’ve ever seen that scarecrow then you’ve seen me
Have you ever seen a one-armed man punching at nothing but the breeze?
If you’ve ever seen a one-armed man then you’ve seen me

Then you’ve seen me, I come and stand at every door
Then you’ve seen me, I always leave with less than I had before
Then you’ve seen me, bet I can make you smile when the blood, it hits the floor
Tell me, friend, can you ask for anything more?
Tell me can you ask for anything more?

These things that have comforted me, I drive away
This place that is my home I cannot stay
My only faith’s in the broken bones and bruises I display

Have you ever seen a one-legged man trying to dance his way free?
If you’ve ever seen a one-legged man then you’ve seen me



Bruce Springsteen – The Wrestler (full version)



NOTE:

We do not host any files here. If this post contains a link to content hosted elsewhere, this is content found by a simple search on the worldwide freedom web. However, if for some valid reason, you object to a said content, or any content here, please let us know and we will remove the content in question.

Any content linked to here is only meant as a taster for the original work itself and is posted on the strict understanding that anyone who downloads the taster, deletes said content within 24 hours. We would assume that these fans will then buy the original work and we greatly encourage them to do so.

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January 19, 2009 Posted by | Bruce Springsteen, Darren Aronofsky, Marisa Tomei, Mickey Rourke, Music_ClassicRock, _CINEMA, _MUSIC, _VIDEO | Leave a comment

Bruce Springsteen Live – Dancing in the Parc – Paris 1985


https://i2.wp.com/www.infoplease.com/images/musrf14.gif

Bruce Springsteen Live – Dancing in the Parc
Parc De La Courneuve – Paris, France
June 29th, 1985

Great show with some great songs belted out!

That’s not a Status Quo track in there, is it?

Springsteen 1985 Paris – Shut out the Light


From: rollingthunder2001

Tracklisting

01 Born in the USA
05 Atlantic City
06 Shut Out the Light
07 The River
08 Working on the Highway
09 Trapped
10 Darlington County
11 Glory Days
12 The Promised Land
13 My Hometown
14 Thunder Road
15 Cover Me
16 Dancing in the Dark
17 Hungry Heart
18 Cadillac Ranch
19 Downbound Train
20 I’m on Fire
21 Because the Night
22 Rosalita (Come Out Tonight)
23 Can’t Help Falling in Love
24 Born to Run
25 Bobby Jean
26 Ramrod
27 Twist and Shout_Do You Love Me
28 Rockin’ All over the World

Here be Brooce:

part 1 – http://sharebee.com/156df4e9
part 2 – http://sharebee.com/ec3f0b33
part 3 – http://sharebee.com/a5c516cd

pass-smitty

smitty

July 30, 2008 Posted by | Bruce Springsteen, Music_Bootleg, Music_ClassicRock, the E Street Band, _MUSIC, _VIDEO | Leave a comment

Bruce Springsteen – Unreleased Studio Outtakes (1977-1983)

Bruce Springsteen – Unreleased Studio Outtakes (1977-1983)

I guess the title of this one is self-explanatory!

There are some fascinating and amazing nuggets in here. Check out the tracklist mofos!

A must-have for any fan of music. Or even for any fan of a fan of music!


Tracklisting

Disc One: (1977 – 1979)

Darkness On The Edge Of Town Studio Outtakes:

Drive All Night (Early Demo,)
The Promise (Full Band Version)
Racing In The Street (Alternate Arrangement w/ Harp)
One Way Street
Candy’s Boy (Lyrical Predecessor To Candy’s Room)
The Fast Song (Musical Predecessor To Candy’s Room)
Fire
Because the Night (Incomplete Lyrics – Later Recorded By Patti Smith)
Spanish Eyes
Get That Feeling

The River Studio Outtakes:

Roulette (Original Version)
To Be True (Original Version – Double Tracked Vocals
Rickie (Alternate Organ Mix w/ Slight Lyrical Changes)
I Wanna Be With You (Slight Lyrical C)hanges
Cindy (Clarence Clemons Harmony Vocals)
Hungry Heart (Original Tempo)
The Price You Pay (Alternate Intro & 3rd Verse – Extended Ending)
I Wanna Marry You (Alternate Mix: New Vocal, No Saxaphone)
Stolen Car (Original Version)

Disc Two: (1981 – 1983)

Nebraska Solo Acoustic Outtakes:

Born in the USA (Later Recorded with The E Street Band For Born In The USA)
Downbound Train (Later Recorded with The E Street Band For Born In The USA)
Child Bride (Lyrical Predecessor To Working On The Highway)
Pink Cadillac (Later Recorded with The E Street Band For Born In The USA)
Losin’ Kind (Thematic Predecessor To Highway 29)

Born In The USA Solo Outtakes:

Shut Out The Light (w/ 2 Extra Verses)
Sugarland
The Klansman
Don’t Back Down (Acoustic Version)
Unsatisfied Heart
Bye-Bye Johnny (Alternate Arrangement)
Follow That Dream (Rewrite Of The Elvis Presley Song)

Born In The USA Studio Outtakes:

County Fair (E Street Band Version)
TV Movie (Alternate Mix w/ Sax Solo)
Glory Days (Original Recording w/ Extra Verse)
Murder Incorporated (Original Recording)
My Love Will Not Let You Down
Frankie

Here be Brooce!


All thanks to double-parkingtheotterscheese.blogspot

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July 22, 2008 Posted by | Bruce Springsteen, Music_ClassicRock, _MUSIC | Leave a comment

Bruce Springsteen & The E Street Band – Special Gig – May 7, 2008 – Entire great "Darkness on the Edge of Town" & "Born To Run" albums!

Bruce Springsteen & The E Street Band
Count Basie Theatre, Red Bank, New Jersey
May 7, 2008

One of the greatest Springsteen shows of all time!

“We’re going to do something different tonight. We’re going to take the Darkness and Born To Run albums and play them in sequence for you …. so that should be interesting!”

A great benefit show for the Count Basie Theatre by the Boss and his gang where they knock out some amazing classics.

Not only that but they perform a whole album from start to finish, in the order the songs appear on the album!

Not only that but they perform two whole albums from start to finish, in the order the songs appear on the album!

These being the great “Darkness on the Edge of Town” and “Born To Run” albums.

To top off the night nicely, Springsteen played four great encores!

A detailed review of the gig is below, thanks to Stan Goldstein;

Wednesday night’s benefit show for the Count Basie Theatre in Red Bank, was one of those real special Bruce Springsteen performances, one that will go down in the history books as a great, great show.

For the first time, Bruce Springsteen and the E Street Band performed a whole album from start to finish, in the order the songs appear on the album.But it wasn’t just one album, it was two. Fans were treated to the entire “Darkness on the Edge of Town” album, then the entire “Born To Run” album. To cap off the night, Bruce played four fun, fun encores.

Before the show started, Patti Scialfa came out to talk to the audience. She said she goes back more than 25 years with the Count Basie Theatre. She told the crowd that she grew up in Deal, just north of Asbury Park and the movie theater she remembers was the Mayfair Theater in Asbury Park. “It was so beautiful. It has this arched ceiling with the stars and the sky. And they had little love seats in the balcony that everyone got their first kiss in. Not me though!,” said Scialfa.

She said how it was so sad when the tore down the Mayfair in the early 1970s and she wants to make sure what happened to the Mayfair Theater doesn’t happen to the Count Basie.

Scialfa then introduced Brian Williams of NBC News. Williams, a native of Middletown and a graduate of Mater Dei High School, said he goes way back with the Jersey Shore, to the Stone Pony and to the Tradewinds. Said he spent many a night seeing the band Fresh and hitting those places after hearing rumors that Bruce might show up and play.

He talked up Jack’s Music Shoppe in Red Bank, as “they sold more rolling papers than records in the 1970s.”

Williams said: “I’ve been all over the world and there’s no better place to be than right here.”

Williams then introduced Bruce who came on at 8:39 p.m. “Good evening” Bruce said to the packed house. He said: “We’re going to do something different tonight. We’re going to take the Darkness and Born To Run albums and play them in sequence for you.

“So that should be interesting.”

Bruce said he was going to play the Darkness album first, so “we don’t send you home suicidal.” He talked about writing the Darkness album. How in 1977 he was livining in a house on farm in Holmdel and it was a tough period in his life. ” When the band broke into “Badlands” the first song from the album, things were a bit messed up and Bruce said: “We ******* it up already.”

The setlist:

1. Badlands
2. Adam Raised A Cain
3. Something In The Night
4. Candy’s Room
5. Racing In The Street
6. The Promised Land
7. Factory
8. Streets Of Fire
9. Prove It All Night
10. Darkness On The Edge Of Town

They took a 15-minute break and came back to play the “Born To Run” album.
Bruce talked about how it took him six months to write and record the song “Born To Run” and another six months to finish the rest of the album. He said it was make or break time for the band, as they were in danger of being dropped from Columbia Records.

11. Thunder Road
12. Tenth Ave Freezeout
They brought out a four-pience horn section for the song. Mark Pender, La Bamba, Jerry Vivino and Ed Manion played.

Bruce jumped into the crowd during the song. He jumped off the front of the stage in front of Little Steven, then walked over, past N.J. Gov. Jon Corzine, to the left side and jumped up on seats. As the crowd swarmed him, they lifted him up a bit. It was like a 1976 show again!

13. Night
14. Backstreets
15. Born To Run
16. She’s The One
17. Meeting Across The River
Beautiful trumpet on this song by Mark Pender.
18. Jungleland
Encores:
19. So Young And In Love
Bruce had a lot of fun in this. He told the band to remind him that there was an instrumental part in there somewhere.
20 Kitty’s Back
All the horn players did solos.
21. Rosalita (Come Out Tonight)
22. Raise Your Hand

Show ended at 11:14 p.m.

Bruce also jumped up on Roy Bittan’s piano several times and did some dancing up there. Bruce didn’t talk between songs, he just right into one song after another.

New Jersey Gov. Jon Corzine was sitting in the front row, just off center. He left during the start of the encores.

Great show, great night. One of my top Bruce Springsteen shows of all time.
To see Bruce in a 1,500-seat theater at this stage of his career is phenomenal.
A very special night.

Tracklisting

Disc One:
Darkness on the Edge of Town

Intro
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

Disc Two:
Born to Run

Intro
Thunder Road
Tenth Avenue Freeze-out
Night
Backstreets
Born To Run
She’s The One
Meeting Across The River
Jungleland

Disc Three:
Encores (Outtakes)

So Young And In Love
Kitty’s Back
Rosalita
Raise Your Hand
Outro

Here be Broooccee

http://rapidshare.com/files/129851414/5-7-07_D3.zip

All thanks to double-parkingtheotterscheese.blogspot.com

July 22, 2008 Posted by | Bruce Springsteen, Music_ClassicRock, the E Street Band, _MUSIC | 3 Comments

Tom Joad Lives

https://i2.wp.com/www.cartoonstock.com/newscartoons/cartoonists/gcu/lowres/gcun23l.jpg


https://i2.wp.com/www.scotsindependent.org/features/quotations/John%20Steinbeck.jpg“Wherever there’s a fight so hungry people can eat, I’ll be there.”

Great piece from http://killiansaid.blogspot.com/ on Steinbeck which segues on through The Grapes Of Wrath, Tom Joad, John Ford, Woody Guthrie up to Tom Morello and Springsteen!

Although John Steinbeck never achieved the stylistic heights of Fitzgerald, Faulkner, or Hemingway, when he wrote The Grapes Of Wrath, he wrote one of the genuinely great American novels of the 20th Century.

The epic of the Joad family resonates profoundly: Literally swept away by the Dust Bowl, the battered clan migrates west to the promised land of California only to find that themselves reviled and rejected by those who came before them.

Fleeing the law, Tom Joad goes underground and by doing so transforms himself into an icon of the dispossessed. Henry Fonda as Tom famously captured this moment in the classic John Ford film. Tom attempts to assuage the fears of his worried, only half-understanding mother by assuring her that “Wherever there’s a fight so hungry people can eat, I’ll be there.” He leaves his disintegrating family to merge with the larger family that lives “wherever you can look.” He disappears into the night to reemerge as a solitary figure questing hopefully into the dawn:

Woody Guthrie captured the novel’s Depression-era spirit of solidarity in his protest ballad “Tom Joad.” Where the film’s monologue stressed middle-class aspirations of “people … eatin’ the stuff they raise, and livin’ in the houses they build,” Guthrie turned his attention to a class army of the hungry, the weeping, and the disenfranchised.

It’s telling that in Ford’s film, children laugh when they were hungry; in Guthrie’s song, they cry. Where Ford’s view is ultimately and unsurprisingly romantic, Guthrie — an Okie himself — retains a hard edge.

Post-war prosperity seemed to bear out Ford’s vision, at least in part. But as Reaganomics and globalization began to suffocate the middle class like as boa constrictor, Tom Joad suddenly seemed as relevant as ever.

In 1995, Bruce Springsteen updated the famous monologue in “The Ghost of Tom Joad.” Here, the homeless huddle under a bridge, denied even the community of a migrant camp. A teeming road leads to poverty and exploitation. And yet, the singer won’t surrender his anger even if it does depend on the fading hope of his belief in a ghost. Three years later, Rage Against The Machine released their own fiery take, keeping the ghost alive for a new generation.

For it seems that Tom Joad won’t go away, even as the middle class dreams of the Ford film fade for millions.

Recently, Rage guitarist Tom Morello joined Bruce Springsteen on stage for what must be the definitive performance of “The Ghost Of Tom Joad.” Morello’s soft voice combines with Springsteen’s defiance and remarkable empathy to form an anthem culminating in a Morello guitar solo that captures all of the frustration and rage conveyed by the lyrics in a literal attempt to summon forth old Tom’s ghost. A video of the performance made its way to YouTube, spreading Tom Joad’s words in a way that Steinbeck or Ford of Guthrie could never have imagined:

You just can’t keep a good man down…

June 25, 2008 Posted by | Bruce Springsteen, John Steinbeck, Music_ClassicRock, OTHER_ARTICLE, OTHER_LITERATURE, Tom Morello, _CARTOON, _MUSIC, _VIDEO | Leave a comment

Jagger & Springsteen & Others – Satisfaction


All star jam of this stone cold Stones classic!

Mick Jagger, Bruce Springsteen, Bob Dylan, John Fogerty… and many many more!

This took place at the Rock & Roll Hall Of Fame Awards on 20 January 1988 at the Waldorf Astoria Hotel, New York.

I can’t get no satisfaction

I can’t get no satisfaction

‘Cause I try and I try and I try and I try

I can’t get no, I can’t get no

When I’m drivin’ in my car

And that man comes on the radio

He’s tellin’ me more and more

About some useless information

Supposed to fire my imagination

I can’t get no, oh no no no

Hey hey hey, that’s what I say

I can’t get no satisfaction

I can’t get no satisfaction

‘Cause I try and I try and I try and I try

I can’t get no, I can’t get no

When I’m watchin’ my TV

And that man comes on to tell me

How white my shirts can be

But he can’t be a man ’cause he doesn’t smoke

The same cigarrettes as me

I can’t get no, oh no no no

Hey hey hey, that’s what I say

I can’t get no satisfaction

I can’t get no girl reaction

‘Cause I try and I try and I try and I try

I can’t get no, I can’t get no

When I’m ridin’ round the world

And I’m doin’ this and I’m signing that

And I’m tryin’ to make some girl

Who tells me baby better come back later next week

‘Cause you see I’m on losing streak

I can’t get no, oh no no no

Hey hey hey, that’s what I say

I can’t get no, I can’t get no

I can’t get no satisfaction

No satisfaction, no satisfaction, no satisfaction



June 23, 2008 Posted by | Bob Dylan, Bruce Springsteen, John Fogerty, Mick Jagger, Music_ClassicRock, _MUSIC, _POETRY, _VIDEO | Leave a comment

Bruce Springsteen & the E Street Band – Live At Count Basie Theatre, May 2008

Bruce Springsteen & the E Street Band – Live
Count Basie Theatre,
Red Bank NJ
7 May 2008
Bootleg / Mp3 / 128 kbps

Don’t ask me how these things make their way to the Internet, but thank God they do. And in this case, they made it to cyberspace in both audio and video. Ah, the wonders of technology…

As anyone who has seen Bruce Springsteen And The E Street Band on the current world tour for the Magic album already knows, right now these guys are turning in some of the best shows of their career. The concerts since returning to the States from Europe earlier this year have in particular been nothing short of spectacular. Watching the setlists change from night to night has also been something of a die-hard Springsteen fan’s wet dream.

But if you want to talk about a dream setlist, I personally can’t imagine anything could possibly top seeing Springsteen and the band run through the entire Born To Run and Darkness On The Edge Of Town albums in a single night. Every song. In their original order. In 2008. In a small, intimate theater setting.

Couldn’t happen, right?

Well, in fact it did happen just a few weeks back, on May 7 at the Count Basie Theater in Red Bank, New Jersey. And if you happened to have an extra couple thousand dollars lying around (not to mention travel costs for those fans who aren’t natives), and had fast enough fingers to beat the rest of the crazies with bucks trying to score a ticket, then you too could’ve witnessed this historic night.

When I first heard about this setlist, I nearly cried that I missed it.

But I like I said, thank God these things have a way of finding their way onto the Internet. Now, since Blogcritics doesn’t condone bootlegging, I’m not going to tell you where to find this amazing show. But for those of you who have ever downloaded a concert, I’ll just say that a quick check of the usual places could yield you sweet pay dirt.

The concert was a benefit for the Count Basie Theater itself, and ended up raising a cool $3 million dollars to help renovate the historic building. After an introduction by NBC’s Brian Williams, Springsteen took the stage and let the crowd in on the secret that they would first play Darkness in its entirety, followed by a break, and then they would do all of Born To Run. This was followed by a collective, ecstatic gasp from the crowd.

From there, the band launched into a false start of “Badlands,” prompting Bruce to comment that they “fucked up,” and that he knew “there was a reason we’ve never done this before.” After the false start though, the E Street Band gathered itself and proceeded to burn through the two classic albums.

Many of these songs are already performed live regularly of course, notably “Badlands,” “Born To Run,” and “Promised Land.” Even “Prove It All Night” began showing up again somewhat regularly on the last leg of the American tour, where Nils Lofgren’s scorching harmonics during the guitar solo have been a highlight, and are no less so here.

But hearing the rarely played songs from Darkness is still quite a treat. Bruce still hits those howls during “Something In The Night” effortlessly all these years later, and on “Streets of Fire,” the vocals take on almost a plea-like quality even while the E Street Band rocks it as hard as ever. Hearing “Factory,” in its original album arrangement was also a pleasant surprise.

The Born To Run material comes across equally strong, especially the segue of “Born To Run” into “Shes The One.” On “Tenth Avenue Freeze Out,” the E Street Band is expanded to include a full horn section, including usual Jersey suspects like trombonist La Bamba. And of course, there is nothing quite like hearing “Meeting Across The River” and “Jungleland” back to back as they were originally conceived.

The encores are also a lot of fun, as the by now over-the-top crowd is treated to the rarely played Darkness outtake “So Young And In Love,” “Rosalita,” and “Kitty’s Back” complete with that expanded horn section. I just wish I could’ve been there.

If you are able to find this recording on the net, be advised that the audio is a little spotty in places, but generally not bad as far as audience-made recordings go. The crowd is also irritatingly loud at times, like when the girl screams out for “Streets Of Fire,” after the song has already started.

Below are some video highlights, captured by someone on YouTube going only by the name of Madeline Maddog.

This video montage captures quite a few of the highlights, including the false start to “Badlands” and Nils’ great solo on “Prove It All Night.” The video also jumps around from song to song quite a bit — but nobody expects the whole show start to finish, right? The quality is likewise variable, with lots of places where the image is either obscured by crowd members, or a bit blurry. But it is also remarkably clear much of the time, and certainly captures the energy of the evening.

If you are unable to find this for yourself on the net, I also wouldn’t worry too much. With the 30th anniversary edition of Darkness On The Edge Of Town coming up this fall, I have a very strong hunch that pro-shot footage may see the light of day on a DVD as part of that expected deluxe boxed set.

In the meantime, enjoy. And thank you Madeline Maddog, wherever you are.

http://blogcritics.org/archive…..204645.php

Tracklisting

1 01 Intro
1 02 Badlands
1 03 Adam Raised a Cain
1 04 Something in the Night
1 05 Candy’s Room
1 06 Racing in the Street
1 07 The Promised Land
1 08 Factory
1 10 Prove It All Night
1 11 Darkness on the Edge of Town

2 01 Bruce Intro
2 02 Thunder Road
2 03 Tenth Avenue Freeze-out
2 04 Night
2 05 Backstreets
2 06 Born to Run
2 07 She’s the One
2 08 Meeting Across the River
2 09 Jungleland

3 01 So Young and in Love
3 02 Kitty’s Back
3 03 Rosalita
3 04 Raise Your Hand
3 05 Outro

Here be Broocie:

http://w17.easy-share.com/1700580411.html
http://w17.easy-share.com/1700580412.html
no pass

Big thanks to the original poster

Mail us: stupidand@gmail.com

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June 11, 2008 Posted by | Bruce Springsteen, Music_Bootleg, Music_ClassicRock, the E Street Band, _MUSIC | Leave a comment

Nils Lofgren – Favorites 1990-2005 (2005)

Nils Lofgren – Favorites 1990-2005 (2005)
CD FULL | COVERS | EAC RIP | WAV | 754 MB

One of the most acclaimed rock guitarists ever, Nils Lofgren – best known as a sideman to some of rock’s greatest artists (Bruce Springsteen, Neil Young, et al) – is an accomplished solo artist in his own right with a professional career that started in 1969 at age 17.

In the 90’s Nils experienced a commercial and critical renaissance with the album “Silver Lining“, which includes the Top 40 hit “Valentine“, featuring Bruce Springsteen.

Nils subsequently appeared on the Tonite Show, David Letterman, MTV etc.

His critically-acclaimed follow-up “Crooked Line” was named by Pete Townsend as one of his favorite albums of the year in Rolling Stone.

Nils has continued making distinctive solo albums; this collection includes highlights from 1990 on, including rarities and live tracks.

Tracklisting

01 New Kind of Freedom 3:41
02 Valentine 6:13
03 Tears on Ice (#) 4:47
04 A Child Could Tell 4:20
05 Gun & Run (Live) 4:38
06 Little Bit O’ Time 2:48
07 Bein’ Angry 5:54
08 Slippery Fingers (Live) 4:24
09 Misery (#)(Demo Version) 4:45
10 Trouble’s Back 5:20
11 Walkin’ Nerve 3:55
12 Shot at You 5:48
13 Open Road 3:14
14 You 3:30
15 Girl in Motion 5:51
16 Black Books (Live) 5:27

Big thanks to the original poster

Mail us: stupidand@gmail.com

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June 10, 2008 Posted by | Bruce Springsteen, Music_ClassicRock, Nils Lofgren, _MUSIC | Leave a comment

Bruce Springsteen – Here Comes The Sun

Bruce covers this George Harrison classic in a 2001 Tribute.

April 24, 2008 Posted by | Bruce Springsteen, George Harrison, Music_ClassicRock, _MUSIC, _VIDEO | Leave a comment

Microsoft’s "Cringe-Inducing" Springsteen Video Parody


Microsoft Creates “Cringe-Inducing” Springsteen Video Parody

Microsoft has produced what they are now claiming is an “internal spoof” video ( though it sure doesn’t look like an inside joke) promoting it’s Vista operating system that features Bruce Servicepack and the Vista Street Band.

This is the sort of atrocity that can happen when you get the nerdiest nerds from all of Nerdland together in a room and put too much sugar in their Camomile tea!

They get all giddy and confused and loco!

Gizmodo says that this heinousness “damages the dignity of not only everyone involved in its production, but everyone who watches it”.

Hear hear! Luckily I’ve got no dignity left to be damaged!

April 22, 2008 Posted by | Bruce Springsteen, Microsoft, _CARTOON, _VIDEO | Leave a comment

Bruce Springsteen – Before The Fame

https://i2.wp.com/www.brucebase.org.uk/btf2.jpgBruce Springsteen – Before the Fame
2CD@256kbps

These CD’s contain all previously unreleased material, recorded in 1972, just prior to Bruce Springsteen’s meteoric rise to international stardom.

These songs are the type of material that record company executives had heard, to recognize what would soon be ‘the future of Rock ‘n’ Roll’. All of the tracks give insight to a true, raw poet.

This release invites you to listen to Bruce Springsteen ‘before the fame, but not before the genius’

CD1

01. Lady and the doctor
02. Southern sun
03. War nurse
04. Prodigal son
05. Eloise
06. Evacuation of the West
07. Jesse
08. Border guard
09. Camilla Horn
10. Family song

CD2

1. Marie
2. Randolph Street
3. Hollywood kids
4. If I was the priest
5. Cowboys of the sea
6. Baby doll
7. Two hearts in true waltz time
8. Tokyo
9. Zero and Blind Terry Version 1
10. Bishop danced

https://i2.wp.com/www.brucebase.org.uk/btf2.jpg

Thanks G37578

Banzai !

March 16, 2008 Posted by | Bruce Springsteen, Music_ClassicRock, _MUSIC | Leave a comment

Bruce Springsteen – Before The Fame

https://i2.wp.com/www.brucebase.org.uk/btf2.jpgBruce Springsteen – Before the Fame
2CD@256kbps

These CD’s contain all previously unreleased material, recorded in 1972, just prior to Bruce Springsteen’s meteoric rise to international stardom.

These songs are the type of material that record company executives had heard, to recognize what would soon be ‘the future of Rock ‘n’ Roll’. All of the tracks give insight to a true, raw poet.

This release invites you to listen to Bruce Springsteen ‘before the fame, but not before the genius’

CD1

01. Lady and the doctor
02. Southern sun
03. War nurse
04. Prodigal son
05. Eloise
06. Evacuation of the West
07. Jesse
08. Border guard
09. Camilla Horn
10. Family song

CD2

1. Marie
2. Randolph Street
3. Hollywood kids
4. If I was the priest
5. Cowboys of the sea
6. Baby doll
7. Two hearts in true waltz time
8. Tokyo
9. Zero and Blind Terry Version 1
10. Bishop danced

https://i2.wp.com/www.brucebase.org.uk/btf2.jpg

Thanks G37578

Banzai !

March 16, 2008 Posted by | Bruce Springsteen, Music_ClassicRock, _MUSIC | Leave a comment

Bruce Springsteen – Nebraska @ 320 Kbps

Bruce Springsteen – Nebraska @ 320 Kbps

Everything dies, baby that’s a fact

But maybe everything that dies some day comes back

Put your makeup on, fix your hair up pretty

And meet me tonight in Atlantic City.


Nebraska, the sixth album by Bruce Springsteen, was released in 1982 to great critical acclaim in spite of a lukewarm public reception.

This is a real classic, one of Springsteen’s greatest moments. One could go so far as say that this in fact Bruce’s masterpiece.

The songs of Nebraska are pure Springsteen in the sense that they deal with ordinary, blue collar characters who face a challenge or a turning point in their lives.

Some characters on Nebraska also commit some sort of offence as on the song “Highway Patrolman” – even though the protagonist works for the law, he can be seen letting his brother escape after he has shot someone. This became the basis for the Sean Penn-directed film The Indian Runner.

Similarly, on the song “Nebraska”, the characters are based on real people who drove through their local town randomly opening fire on people just for “fun”. Because of these kinds of themes on Nebraska, there is very little of the grace or salvation which can be seen in other albums.

It could be said that the bleakness of the album was the reason it received poor sales, yet critical acclaim.


In 1989, Nebraska was ranked #43 on Rolling Stone magazine’s list of the 100 greatest albums of the 1980s. In 2003, the album was ranked number 224 on Rolling Stone magazine’s list of the 500 greatest albums of all time. Pitchfork Media listed it the 60th greatest album of the 1980s.

Rolling Stone magazine described it as “Naive, simple and telling, it is the caption beneath Bruce Springsteen’s abrasive, clouded and ultimately glorious portrait of America.” (The full review can be found further below).

Tracklisting

  1. “Nebraska” – 4:32
  2. “Atlantic City” – 4:00
  3. “Mansion on the Hill” – 4:08
  4. “Johnny 99” – 3:44
  5. “Highway Patrolman” – 5:40
  6. “State Trooper” – 3:17
  7. “Used Cars” – 3:11
  8. “Open All Night” – 2:58
  9. “My Father’s House” – 5:07
  10. “Reason to Believe” – 4:11

All songs written by Bruce Springsteen.

CLICK HERE AND SCROLL DOWN TO LISTEN

After ten years of forging his own brand of fiery, expansive rock & roll, Bruce Springsteen has decided that some stories are best told by one man, one guitar. Flying in the face of a sagging record industry with an intensely personal project that could easily alienate radio, rock’s gutsiest mainstream performer has dramatically reclaimed his right to make the records he wants to make, and damn the consequences. This is the bravest of Springsteen’s six records; it’s also his most startling, direct and chilling. And if it’s a risky move commercially, Nebraska is also a tactical masterstroke, an inspired way out of the high-stakes rock & roll game that requires each new record to be bigger and grander than the last.

Until now, it looked as if 1973’s dizzying The Wild, the Innocent & the E Street Shuffle would be the last Springsteen album to surprise people. Ensuing records simply refined, expanded and deepened his artistry. But Nebraska comes as a shock, a violent, acid-etched portrait of a wounded America that fuels its machinery by consuming its people’s dreams. It is a portrait painted with old tools: a few acoustic guitars, a four-track cassette deck, a vocabulary derived from the plain-spoken folk music of Woody Guthrie and the dark hillbilly laments of Hank Williams. The style is steadfastly, defiantly out-of-date, the singing flat and honest, the music stark, deliberate and unadorned.

Nebraska is an acoustic triumph, a basic folk album on which Springsteen has stripped his art down to the core. It’s as harrowing as Darkness on the Edge of Town, but more measured. Every small touch speaks volumes: the delicacy of the acoustic guitars, the blurred sting of the electric guitars, the spare, grim images. He’s now telling simple stories in the language of a deferential common man, peppering his sentences with “sir’s.” “My name is Joe Roberts,” he sings. “I work for the state.”

As The River closed, Springsteen found himself haunted by a highway death. On Nebraska, violent death is his starting point. The title track is an audacious, scary beginning. Singing in a voice borrowed from Guthrie and early Bob Dylan, he takes the part of mass murderer Charlie Starkweather to quietly sing, “I can’t say that I’m sorry for the things that we done/At least for a little while, sir, me and her we had us some fun.” The music is gentle and soothing, but this is no romanticized outlaw tale à la Guthrie’s “Pretty Boy Floyd.” The casual coldbloodedness, the singer’s willingness to undertake the role and the music’s pastoral calm make Starkweather all the more horrific.

Springsteen follows with another tale of real-life murder, this one involving mob wars in Atlantic City. With “Nebraska” and “Atlantic City,” his landscape has taken on new, broader boundaries, and when he begins “Mansion on the Hill” with a reference to “the edge of town,” it’s clear that his usual New Jersey turf has opened its borders to include Nebraska and Wyoming and forty-seven other states. Crowds on the final leg of his last tour saw hints that Springsteen was heading toward this territory when he talked of Allan Nevins and Henry Steele Commager’s history of the United States and Joe Klein’s Woody Guthrie: a Life, and when he sang the songs of Guthrie, John Fogerty and Elvis Presley, all uniquely American stories.

The keynote lines on Nebraska–”Deliver me from nowhere” and “I got debts that no honest man can pay”–each surface in two songs. The former ends both “State Trooper” and “Open All Night,” while the latter turns up in “Atlantic City” and “Johnny 99.” The album’s honest men–and they outnumber its criminals, though side one’s string of bloodletters suggests otherwise – are all paying debts and looking for deliverance that never comes. The compassion with which Springsteen sings every line can’t hide the fact that there’s no peace to be found in the darkness, no cleansing river running through town.

As on The River, the most outwardly optimistic songs on the new album are sung by a man who knows full well that his dreams of easy deliverance are empty. In “Used Cars,” the singer watches his father buy another clunker and makes a vow as heartfelt as it is heartbreakingly hollow: “Mister, the day the lottery I win/I ain’t ever gonna ride in no used car again.” And the LP’s one seeming refuge turns out to be illusion: in “My Father’s House,” a devastating capper to Springsteen’s cycle of “father” songs, the house is a sanctuary only in the singer’s dreams. When he awakens, he finds that his father is gone, that the house sits at the end of a highway “where our sins lie unatoned.” By this point, the convicted murderer of “Johnny 99” is one of the few characters who’s seemingly figured out how to retain his dignity. He asks to be executed.

If this record is as deep and unsettling as anything Springsteen has recorded, it is also his narrowest and most single-minded work. He is not extending or advancing his own style so much as he is temporarily adopting a style codified by others. But in that decision are multiple strengths: Springsteen’s clear, sharp focus, his insistence on painting small details so clearly and his determination to make a folk album firmly in the tradition. “My Father’s House” may be the only cut on side two that can stand up to the string of songs that open the record, but inconsistency is perhaps inevitable after that astonishing initial stretch: the title track; “Altantic City”; and “Highway Patrolman,” an indelible tale of the ties that bind and the toll familial love exacts, with one of Springsteen’s most delicious, delirious reveries–”Me and Frankie laughin’ and drinkin’/Nothing feels better than blood on blood/Takin’ turns dancin’ with Maria/As the band played ‘Night of the Johnstown Flood.'”

By the end of the record, paradoxically, the choking dust that hangs over Springsteen’s landscape makes its occasional rays of sunlight shine brighter. In “Atlantic City,” for example, a rueful chorus makes the song sound nearly as triumphant as “Promised Land”: “Everything dies, baby that’s a fact/But maybe everything that dies some day comes back/Put your makeup on, fix your hair up pretty/And meet me tonight in Atlantic City.”

Finally, it comes down to that: an old dress and a meeting across from the casino is sometimes all it takes. “Reason to Believe” adds the final brush strokes, by turns blackly humorous and haunting. One man stands alongside a highway, poking a dead dog as if to revive it; another heads down to the river to wed. The bride never shows, the groom stands waiting, the river flows on, and people, Bruce sings with faintly befuddled respect, still find their reasons to believe. Naive, simple and telling, it is the caption beneath Bruce Springsteen’s abrasive, clouded and ultimately glorious portrait of America.

STEVE POND

(Posted: Oct 28, 1982)


Here be some beautiful bleak blues!

NEBRASKA

Thanks to shakthecat!

March 15, 2008 Posted by | Bruce Springsteen, Music_ClassicRock, _MUSIC | Leave a comment