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Bruce Springsteen

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The Rising is stellar. I really love Countin' On A Miracle

Saw Jake Clemons and had the honour of meeting him and talking to him. He is an exceptional human being. A very modest man.
 
Cruyff14 said:
The Rising is stellar. I really love Countin' On A Miracle

Saw Jake Clemons and had the honour of meeting him and talking to him. He is an exceptional human being. A very modest man.
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Yeah, he's a star. Good gig? Get any Bruce news out of him?
 
It was fantastic. Absolutely ****ing fantastic. I can't speak highly enough of it.

He is a very humble and modest man.

No, the focus deserved to be on him. He is very well spoken. I said he makes his sax talk, and his music makes the world a brighter place. He thanked me. It was an incredibly humbling experience.

The clip below is a cover, and well worth the listen.



The man is a multi-instrument playing talent.



The sax, just damn.

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I will be blasting out Born to Run just before the start of the Freo v Port game, as for Port to win they have to run Freo off their feet today to win and get 4th spot and the double chance.

The other night I fell asleep on the couch and woke up at about 1-33am and Bruce was about 3 minutes into a 15 minutes or so Sony Music/Channel 9 promo for High Hopes. I think it was footage from his Sirrus Radio interview from January this year. It was kind of bizarre at that time of the night but Tom Morello spoke a fair bit and it was good to hear his thoughts. Next day I played High Hopes. It reminded me it is a good album if a little disjointed.

Yesterday on ABC 891 Adelaide radio morning show, they had a 15 minute segment on protest songs. Early on they played about 2/3rds of American Skin. The music guy Robbie who was running the segment with the host Ian Henschke, explained the song and how given what happened in Ferguson Missouri a couple of weeks ago, it is still relevant, and finished off the intro by saying the power of the words and melody show why he is the Boss. Always knew it was a powerful song but in the context of the whole segment, it really stood out how powerful it is. The host had never heard of American Skin before and was very complimentary afterwards.
 
Been thrashing the Brisbane 2014 show all weekend. What a great show and TWTI&TESS is magnificent.
 
I hit Serenade on repeat several times and picture a couple of those violists, especially the one closest to Max and think of Bruce being stunned by their beauty - "only in Australia"
 

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I wrote this about Flood if anyone cares. pjcrows Ford Fairlane NitroFan ManWithNoName DrVanNostrand Juddism

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Lost in the Flood has an unbelievably haunting feel to it throughout. Crashing drums and the feedback from the guitar (which literally sends shivers up my spine) at the beginning, come to a grinding halt that leave a deafening silence, even if it is extremely brief.

There's a sense of intrigue to what is to come. Both the minor and major chords on the piano increase the tension. Things are settled for the first two verses. But, once the band come in, everything is interspersing to show off what a well oiled machine Bruce Springsteen has created. With the backing of The E-Street Band, Flood's power gets turned all the way up to 11 and there is no turning back from there.

Garry Tallent's bass provides the backbone in which the others bounce off. Roy makes his work on the piano sound so effortless even though you can hear the intensity and conviction in each note. Max's work on the drum kit at times is relentless as it is powerful. The chilling organ adds to the intensity the song demands.

In a way, the music mirrors the lyrics. The piano leads us through the first quarter of the song paired only with Bruce's vocal. We are yet to determine the severity of the story Flood tells. Kind of like setting the scene, a prelude somewhat, to what is to follow.

Once we're introduced to the blaze-and-noise boy (kickass name for a character if ever I've heard it) however, the drums come crashing in, the tempo rises and everybody is jamming, and Bruce takes it up a notch with his vocal work.

The music is now starting to match the lyrics even more so. From "riding head first into a hurricane", you can feel the force behind the music. The constant snap the snare drum is producing, and the crashing cymbals, it's all starting to rise. You can imagine the fire he’s got sprinting through his veins as he is pounding through this second half of the song. The intensity is simmering through the first part of the song, but by the time the band is in, it has reached boiling point and Flood swallows you up in its unrelenting force, and leaves nobody to spare. Bruce's solo can be comparative to the lyrics. As he unleashes his fury on that telecaster, it sort of signifies the chaos that has ensued. This is like the eruption, it's all boiled over and that scorching solo is telling us what happened. Roy's final notes end the song just like it begins, except the last note is authoritative. It signifies the end, that there will be no more.

Bruce has managed to create many music subtleties which may go unnoticed to many. If you listen, you can hear Roy's piano replicate the sound of gunfire when Bruce belts out "And now the whiz-bang gang from uptown, they're shootin' up the street". Max has "five quick shots" after the cops are coming up for air covered when he bashes his snare to copy to represent the five shots. And we can't forget the rumbling of his floor toms when "his body hit the street with such a beautiful thud." It's subtle, and a marvelous thing to behold once you pay attention to it.

The imagery in Flood is stark, powerful, intense, confronting and raw. It is the song which, for me, where his imagery reaches it summit The whole last verse pretty much plays out an epic gun fight between the cops, a gang, "that cat from the Bronx" and "some kid" who apparently comes blasting around a corner.

From ankles which are caked in mud, to the aforementioned body that hits the street with such a beautiful thud, and riding head first into a hurricane (that blaze-and-noise boy sure is one crazy cat), to the boy laying "on the street holding his leg, screaming something in Spanish". Even something so simple as "he leans on the hood telling racing stories" has the ability to conjure up a vivid image.

That last verse is pure poetry. Absolutely flawless songwriting.

Bruce has managed to create these powerful, detailed images which can be imprinted on our mind, and, I for one, am grateful for that when they are as great these.

 
I have completely missed this UpForGrabs what do you think you talked about remasters

http://www.backstreets.com/remasters.html
LUCKY SEVEN: REMASTERS OF SPRINGSTEEN'S '73-'84 ALBUMS DUE 11/17
Mastering master Bob Ludwig gives Backstreets the lowdownSeptember 24, 2014

This November, Columbia Records/Legacy Recordings is set to release a box set that utilizes state-of-the-art technology to revisit several of Springsteen’s classic recordings: the incredible run of albums from his first decade in the studio.Bruce Springsteen: The Album Collection Vol. 1 1973-1984 contains newly remastered editions of Springsteen's first seven LPs, Greetings From Asbury Park, N.J. through Born in the U.SA, and will be available in both vinyl and CD configurations.

Since 1992, when Columbia reissued Born to Run in a gold-CD MasterSound edition, many fans have hoped for remastered upgrades to the rest of Springsteen's catalog for the digital age; in the 22 years since, only Born to Runand Darkness on the Edge of Town have received that treatment, as part of their respective box sets. The wait ends here, including fresh remasters of BTR andDarkness, which benefit from a previously unavailable tape transfer technique — more on that in a moment.

Greetings From Asbury Park, N.J. (1973)
The Wild, the Innocent & the E Street Shuffle (1973)
Born to Run (1975)
Darkness on the Edge of Town (1978)
The River (1980)
Nebraska (1982)
Born in the U.S.A. (1984)

All seven of the albums are newly remastered, five for the first time ever, and all are making their remastered debuts on vinyl. Original LP packaging is being replicated for each, and the box set also includes a 60-page book featuring rarely seen photos, memorabilia, and original press clippings from Springsteen's first ten years as a recording artist.
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http://www.backstreets.com/remasters.html
 

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Yeah no doubt about it but Im curious to hear the first two albums and Nebraska - which he recorded at his home studio when home was a flat and not a 300 acre farm - and see if I can hear a difference.
 
RussellEbertHandball said:
I have completely missed this UpForGrabs what do you think you talked about remasters
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RussellEbertHandball said:
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Cruyff14 said:
Money grabber.
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Well, they're being released on my birthday... so there's that.

Look - I won't be buying them. Not that I don't want to, but I've got bookshelves full of albums I don't listen to, and I don't have any money.

BUT...

I agree with Cruyff in that it's a money grabber. They only recently remasted BtR and Darkness yet now they've done it again? Pfft.

Having said that... would kill for a remastered The River. On CD, that things sounds worse that a mouse taking a leak on tin can lid. Just horrible. Not sure that you can 'remaster' Nebraska, either.

As for the first two albums, the production on those was so bad (even though I love The Wild... like nothing else), that I'm not sure that a remaster will do.

They need to be completely re-mixed like the songs that ended up on Tracks were... but even then Bruce had to re-record parts. So who knows. I'll be interested to hear the results.
 

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