Mathijs

Not sure where you get ‘tough guy working guy’ from? - I’ve been a Bruce fan for 45 years and I don’t recognise that description. Unless you saw a poster from Born in the USA and looked no closer. Try side two of ‘The wild the innocent and the E street shuffle’ Nothing ‘tough guy’ about that - just wonderful music )

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Koschi
Does anybody here own the two Steel Mills Retro Band Albums with Songs before Bruce became famous. Impossible to find for me.

Help would be appreciated. Thx

There's no such thing. Steel Mill only ever did one studio session - three demos cut in California in February 1970 - all of them are on various bootlegs, although an edited version of one of them (He's Guilty') was released officially on 'Chapter & Verse' in 2016.

There are a few live shows available unofficially though. Likewise with the other bands he was in before he signed with Columbia in 1972, including a soundboard recording of a Bruce Springsteen Band rehearsal session from March 1972.

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Gazza

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Koschi
Does anybody here own the two Steel Mills Retro Band Albums with Songs before Bruce became famous. Impossible to find for me.

Help would be appreciated. Thx

There's no such thing. Steel Mill only ever did one studio session - three demos cut in California in February 1970 - all of them are on various bootlegs, although an edited version of one of them (He's Guilty') was released officially on 'Chapter & Verse' in 2016.

There are a few live shows available unofficially though. Likewise with the other bands he was in before he signed with Columbia in 1972, including a soundboard recording of a Bruce Springsteen Band rehearsal session from March 1972.

Yes there is - I am talking about the Steel Mill Retro band. Look here: [en.wikipedia.org]

According to wiki there are two albums: Dead sea chronicles 2007 and All Man the Guns for America 2009.

Would like to listen to them



Edited 1 time(s). Last edit at 2020-11-14 19:56 by Koschi.

Oh I misunderstood you. I assumed you meant the original Steel Mill band featuring Bruce (which never had a a record contract) - not the modern day Vini Lopez-led band (Never heard of them myself).

I'd be interested in hearing those records as well. There's a Steel Mill song from 1970 called 'We'll All Man The Guns' which appears on a recording of a gig from Richmond, Va in August 1970 - presumably the same song as the title track of that second album.

Gazza if you find them somewhere please let me know. Thx

It’s such a pity the Stones don’t do a ‘monthly’ live concert release like Bruce does.

Out yesterday........

The New Jersey Hustle


Bruce Springsteen and the E Street Band

Hammersmith Odeon, London, England, November 24, 1975

By Erik Flannigan

Performing under pressure can bring out the best in us, but it can also skew perception. The long-standing narrative surrounding Bruce Springsteen and the E Street Band’s four-stop European tour in 1975 was that response to opening night in London on November 18 was mixed, in part because the hype leading up to the show was at Second Coming levels — too much for anyone to live up to, even Springsteen.

The official release of that show in the Born to Run box set on video and subsequent standalone audio blows the myth out of the water, as the performance is excellent and every bit as good as the gigs Springsteen played in the States in the weeks prior.

But the London ’75 narrative was a two-parter, the other half being that the response to the first London show motivated an extraordinary second performance by Springsteen and the band at Hammersmith Odeon six days later, on November 24. Whether or not there is a causal relationship between the reception to the first gig and the resulting second show, the myth is right about one thing: London 11/24/75 is brilliant.

After performing 16 songs at Hammersmith 1, Bruce and the band unleash 22 killer cuts at Hammersmith 2, making eight overall changes to the set, a whopping seven of which are cover versions. The mindset seems to be, bust out the full arsenal and hit ’em with everything we got. Boy do they ever, giving a musical history lesson in the process and performing some of the best live versions of material from Springsteen’s first three albums, shifting effortlessly between full tilt and slow, nuanced majesty.

The latter aptly describes the show opener, “Thunder Road,” with just Roy on piano, Danny on glockenspiel, and Springsteen on vocals. It remains a bold and vulnerable choice to start a show, and the performance is sublime. (Five points to the first person to identify who introduces Springsteen to the stage.) The shift to breakneck pace is on full display as the E Street engine turns over and Bruce pushes the gas pedal to the floor on “Tenth Avenue Freeze-out.”

Jon Altschiller’s mix, taken from Plangent Processed, 24-track analog master reels, moves beyond HD to something closer to 4K, not merely widescreen but razor-sharp, with tremendous spatial depth and ideal balance between band and fans. It’s a step above “you are there.”

Many pixels have been spent on the topic of Archive releases of shows that “we already have in great quality,” with some questioning the need. True, a mostly complete two-track soundboard recording of Hammersmith 2 has been in circulation for many years. But if there were ever a demonstration of the merit of putting out the best shows out in the best quality, London 11/24/75 is it. Comparing the old bootleg to the new multitrack edition is like comparing Charli D’Amelio to Misty Copeland. Sure, they both dance….

The London audience roars its approval as Bruce shifts the setting to New Jersey for “Spirit in the Night,” with the band warmed up and soaring, Stevie Van Zandt and Max Weinberg notably in fighting form. Bruce is getting into it, too, and his vocal intonation gets more expressive by the middle of the second verse as he sings, “By the time we made it up to Greasy Lake.”

“Lost in the Flood” made its tour debut at Hammersmith 1, and this night is one of the song’s finest live outings. The swirling sound of Danny Federeci’s Leslie speaker sets the haunting mood, and Roy comes in ever so delicately on piano. As the song grows and expands, striking guitar work slices through the tension before the flood crests at 5:23 with Springsteen’s high-pitched scream, the crescendo before Roy’s final melodic refrain.

Hammersmith 2 moves briskly from song to song and doesn’t feature lengthy chatter. “She’s the One” and “Born to Run” are examples of letting the music do the talking. The former is played at a humming clip, the latter goes full Wall of Sound, especially Springsteen’s rapid fire guitar in the bridge. “Growin’ Up” and “Saint in the City” serve to catch up the crowd on the early chapters of the Springsteen story.

“Pretty Flamingo” takes the place of “E Street Shuffle” from Hammersmith 1 but retains its soulful spirit. The languorous version allows us to hear the room and the audience as they clap along, embracing the vibe. “Backstreets” is straightforward and strong, then we shift back to fifth gear as “Sha La La” attempts a land speed record, kicking up delicious guitar licks in its dust.

Perhaps as a result, “Jungleland” struggles to find its bearings but ultimately delivers drama and impact. “Rosalita” closes the set with a sense of release that sets up what’s to follow — but only after a bit of fun. When Bruce shouts, “Gimme ten!” in the breakdown, listen for a guitar note that seems to bend into a question mark. The band hangs there for longer than we expect. The audience goes nearly silent, unsure what happens next. Finally, chiming guitar chords and the onslaught continues, pounding the crowd with E Street power, Stevie and Max again leading the charge.

We move to a jaw-dropping encore that opens with an evocative version of “Sandy,” resplendent with Danny’s accordion and the Big Man’s baritone sax. Bruce paints a picture with his words, singing every line with vivid conviction. This is as good as “Sandy” gets.

From there, it’s time for an E Street Jukebox session that is the stuff that built the legend. The tour debut of “Wear My Ring Around Your Neck” gets us started, with Bruce turning up the juice on the Elvis Presley tune (written by Bert Carroll and Moody Russell). This is the first release of the storming song in the Archive series and one of only 14 known performances.

Next, we’re on to the “Detroit Medley” and a special disco dance lesson, as Bruce teaches Londoners the “New Jersey Hustle.” That wraps the first encore. The band leaves the stage and Bruce returns for a solo piano performance of “For You.”

Holy shit.

Over the course of nearly nine rhapsodic minutes, Springsteen reinterprets “For You” to wonderous effect. Everything changes, from vocal intonation to phrasing to tempo. “You could laugh, you could cry, in a single sound” — I’ve never heard Bruce utter the line quite like this before, and similar reimagining happens throughout the performance. The clarity of the recording is remarkable.

It isn’t just his singing, either, as he thrillingly speeds up the piano behind lines like, “Your strength was devastating in the face of all these odds,” and later when he concedes, “So you left to find a better reason than the one you were living for.” This first appearance of the solo piano “For You” in the Live Archive series is an essential addition.

“When You Walk in the Room” brings pure elation, the Searchers cover soaring and showing the UK group’s influence on the E Street sound, which can be heard all the way up through the River sessions.


The encore continues with “Quarter to Three,” and whatever audience uncertainty was there in “Rosalita” is gone. Springsteen has Hammersmith eating out of the palm of his hand. The show could have easily ended with the Gary U.S. Bonds classic, as many Springsteen shows have before and since, but no. Turns out there’s gonna be an after-party, and Bruce and the band are gonna pull out ALL the stops.

Bruce says he learned to play “Twist and Shout” “out of a Beatle book,” and he uses it to work up the crowd even further as he stops mid-song on “doctors orders,” only to be revived by his bandmates.

Two minutes of sustained applause compels a third encore, and pushing the C1 button brings up Chuck Berry’s “Carol” in its final 1975 appearance. Stevie Van Zandt seizes the occasion for more guitar heroics. That sonic depth noted above can be especially felt when Bruce calls for Clarence’s “big notes” on baritone sax.

Do yourself a favor this holiday season and put a proper stereo on your wishlist. Computer speakers, AirPods, and — God forbid — the speaker on your phone are no way to listen to Bruce Springsteen live.

The epic Hammersmith performance seems to be over, but Springsteen can’t quite walk away, calling out the key of A and breaking into a spontaneous version of another Berry classic, “Little Queenie.” Collectors know the song’s famous premiere at the Milwaukee “bomb scare” show in October 1975; this one shares that same ragged-but-right spirit, along with an unmistakable sense that on this climatic night in London, the end of Bruce’s first-ever visit to Europe, he simply didn’t want it to end.

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midimannz
It’s such a pity the Stones don’t do a ‘monthly’ live concert release like Bruce does.

Out yesterday........

The New Jersey Hustle


Bruce Springsteen and the E Street Band

Hammersmith Odeon, London, England, November 24, 1975

Saw this release (London 75) on Bruce's site yesterday. The reviews are pretty great for this one.

And yes, it is a pity that the Stones don't do a monthly release like Bruce does. However, I would argue that it is an apples and oranges argument meaning I can't see the Stones being interested in doing something like this (IMHO not worth Jagger's time plus I see Jagger being too concerned with overdubs to make sure what gets released to the public sounds perfect in order to protect the legacy).

With Bruce, he could do a run of 5-10 shows at the same venue and release it to the fans and they would be overwhelmingly excited simply because Bruce varies his setlist (could be anywhere from between 4-8 different tunes from night to night). With some exceptions, the Stones consistently played the same setlist in 69, 72, 75, 78, 81, 89, etc. This kind of release would only cater to die-hard fans like us.



Edited 3 time(s). Last edit at 2020-12-06 01:04 by Sighunt.

The Springsteen releases are only aimed at diehard fans. However there are enough to make it practical. Likewise with the Stones. This is not some long forgotten 60's or 70's act. 'Jagger's time' isn't an issue. Springsteen doesnt really have much involvement with these releases. They choose a show and give it to Bob Clearmountain or whoever to mix it properly. It can't be that difficult to oversee.

I'm sure if, for example, the Stones released a 3-CD set of the three 1969 MSG shows - all of which have pretty much the same setlist - they'd sell reasonably well as far as those kind of releases go. No one's expecting them to result a gold record.

Best doing this sort of thing now. In 10-15 years time, no one will be around who gives a shit about listening to 50-60 year old concerts.



Edited 2 time(s). Last edit at 2020-12-06 17:07 by Gazza.

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Gazza
The Springsteen releases are only aimed at diehard fans. However there are enough to make it practical. Likewise with the Stones. This is not some long forgotten 60's or 70's act. 'Jagger's time' isn't an issue. Springsteen doesnt really have much involvement with these releases. They choose a show and give it to Bob Clearmountain or whoever to mix it properly. It can't be that difficult to oversee.

I'm sure if, for example, the Stones released a 3-CD set of the three 1969 MSG shows - all of which have pretty much the same setlist - they'd sell reasonably well as far as those kind of releases go. No one's expecting them to result a gold record.

Best doing this sort of thing now. In 10-15 years time, no one will be around who gives a shit about listening to 50-60 year old concerts.

Regarding your last point above, you and I are in total agreement on that!



Edited 1 time(s). Last edit at 2020-12-06 17:28 by Sighunt.

My apologies if this has already been posted but it looks like Bruce and the E Street Band are scheduled to be the musical act on the next edition of Saturday Night Live on Dec.12/20.

video: [www.youtube.com]

SNL promos featuring the Boss, the E Street Band, and Timothee Chalamet.

Can't Wait!!!

They just nailed Ghosts on SNL!! It was rock n roll greatness.

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Chris Fountain
They just nailed Ghosts on SNL!! It was rock n roll greatness.

Loved it!

Surprise Song! "See you in my Dreams" Excellent! Keeping with theme of album!!!

I found the Ghosts performance on Youtube. There is 1 video now with rather bad picture and sound quallity, but man, what a prformance. It put a huge smile on my face like nothing has done for quite a while now. Amazing what a 71 year old man with a bunch of 70+ year old buddies can do. Amazing, amazing, amazing. For the first time this year I can imagine I would buy a concert ticket again...

Bruce & band were fantastic. Looks like the Boss & Little Steven missed the social distancing memo though....

Ghosts




I'll See You In My Dreams

Frankly, I didn't think they sounded that great on Ghosts. "Dreams" went much better, though.

At times they sounded out of tune - maybe a monitoring problem? Bruce doesn't use in-ear-monitoring, and on TV it might be hard to turn the stage monitors loud enough.



Edited 1 time(s). Last edit at 2020-12-13 14:47 by Topi.

Thanks, bye bye johhny, for HQ videos. Again - simply amazing. Right now I feel this is by far the best that has happend in music in this shity year.

I’m a Bruce nutter. He was off key all right during Ghosts. BIT better during I’ll See you in my Dreams which isn’t my favourite song off LTY. And I didn’t care. Live rock from Bruce and the ESB to see off the year. Wonderful.

Rod

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bitusa2012
I’m a Bruce nutter. He was off key all right during Ghosts. BIT better during I’ll See you in my Dreams which isn’t my favourite song off LTY. And I didn’t care. Live rock from Bruce and the ESB to see off the year. Wonderful.

Bruce did appear to be off key. But then again, how could you not be a little rusty playing live in front of an audience after a long lay-off. However, I thought Ghosts rocked!

Excuse my ignorance if I haven't been paying attention (this is for more fanatical Bruce fans than me to answer), but is Soozie Tyrell still playing or part of the E Street Band (or considered just guest musician and not core member)? As far as I can tell, she didn't play on Letter to You.



Edited 3 time(s). Last edit at 2020-12-14 07:02 by Sighunt.

"We’ll be missing our great bass player @gwtallent and our compatriot Soozie Tyrell on Saturday night due to COVID restrictions and concerns. Garry and his family are fine as is Soozie, but we thank Jack Daley of the Disciples of Soul for sitting in."

[twitter.com]

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Chris Fountain
They just nailed Ghosts on SNL!! It was rock n roll greatness.

This is what I heard: It was stock Bruce schtick. The usual overblown "intensity" and dramatic faux-passion.

Musically, too many guitars, everyone's playing and nothing's distinctive with no space in the sound between instruments.*

Then the band hanging all over themselves at the end, as if they were totally spent after a four-hour show.

He was impersonating himself.




*Here's a lean, mean five-piece group demonstrating how less can actually be more in the service of a song:
[www.youtube.com]

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Chris Fountain
They just nailed Ghosts on SNL!! It was rock n roll greatness.

the older I get (or the older he gets) I don't understand that fuzz about Springsteen.
To me that performance was far from 'rock n roll greatness'. It fact it was far from rock n roll…

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slewan

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Chris Fountain
They just nailed Ghosts on SNL!! It was rock n roll greatness.

the older I get (or the older he gets) I don't understand that fuzz about Springsteen.
To me that performance was far from 'rock n roll greatness'. It fact it was far from rock n roll…

During a Pandemic - A real live performance ????!!! Awesome! Taking every precaution (Talant was not playing bass) is great. I'm really thankfull!

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loog droog

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Chris Fountain
They just nailed Ghosts on SNL!! It was rock n roll greatness.

This is what I heard: It was stock Bruce schtick. The usual overblown "intensity" and dramatic faux-passion.

Musically, too many guitars, everyone's playing and nothing's distinctive with no space in the sound between instruments.*

Then the band hanging all over themselves at the end, as if they were totally spent after a four-hour show.

He was impersonating himself.




*Here's a lean, mean five-piece group demonstrating how less can actually be more in the service of a song:
[www.youtube.com]

I generally agree with your description, but isn't that really the "Bruce formula" that has won him millions of fans around the world?

Never have been a fan of all that, and I don't even own any Bruce albums, but I enjoyed seeing his appearance...the generic and bombastic familiarity of The Boss is nice once in a while imo.
Similar to when listening to the radio...9 out of 10 times I'd change the station if a Bruce tune comes on, but there's that one time out of ten where I can get in to it and sort of enjoy. Just like Ghosts last night.

_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......

\Again we are in a pandemic and BS and E Street Band came out and took no prisoners.

What a performance and bringing America Together in a real concert type setting despite a studio!!!

Oh, it was live, all right...no playback

My daughter, after seeing Springsteen during his Seeger Sessions tour, and it was a great show, one of the best Springsteen shows I saw and have seen in years, and I'm counting later tours after that tour, said "Bruce Springsteen is god," After listening to his latest album and watching the SNL stuff, I would tend to disagree. Bruce can claim he wanted an album that sounded like the E Street Band firing on all cylinders, but to me, that's just it - it is him and the E Street Band, playing very well, but there's no real fire to it. I will take his Winterland 1978 live disc, some of the Born In The USA tour boots over it, anytime. Granted, there's a difference between studio and live albums, but this latest album leaves me cold.