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I was reading the Mike Appel book 'Down Thunder Road' the other day and it was saing about the first aydition. Appel writes that the first time he told Bruce that he was not good and that he was improved at the second audition. Dave Marsh says that Appel was satisfied with Bruce from the very first time. Whom do you believe?

The world ain't all sunshine and rainbows.

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[]I was reading the Mike Appel book 'Down Thunder Road' the other day and it was saing about the first aydition. Appel writes that the first time he told Bruce that he was not good and that he was improved at the second audition. Dave Marsh says that Appel was satisfied with Bruce from the very first time. Whom do you believe? [/]

that's not completely what is said - and I believe the book was written by a man who also wrote exposes of other celebrities - what he said was Appel love Springsteen's intensity - the he sang every note as if his life depended on it - how some of the lyrics where fantanstic and the imagery was great - a blind and deaf girl dancing to a slient band - or something - but that the songs he presented has ZERO commercial potential and he only had like 6 songs done - appel told Bruce to write some more songs that could sell - and he did. Appel always loved springsteen. It did say that when bruce came back - six months later - he had to remind appel who he was.

get the story right!!! <img src="/ubbthreads/images/graemlins/wink.gif" alt="" />
[]I was reading the Mike Appel book 'Down Thunder Road' the other day and it was saing about the first aydition. Appel writes that the first time he told Bruce that he was not good and that he was improved at the second audition. Dave Marsh says that Appel was satisfied with Bruce from the very first time. Whom do you believe? [/]

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There were two Springsteen "auditions" with Mike Appel, not one....but Dave Marsh doesn't seem to have been aware of this fact when he wrote his book. Marsh writes as if there had been only one audition and blends informaton into the one event. So Marsh was/is clearly confused about the finer details.

AUDITION #1 (Oct or Nov 1971) - attended by Springsteen, Tinker West and Mike Appel. Springsteen performed "Baby Doll" and one other on piano. Appel didn't think much of the songs melodically, althoiugh there were some individual lines in "Baby Doll" that he thought showed promise and he told Bruce to focus on that type of lyric, write more material and re-contact him if he had some good stuff. Appel wasn't all that impressed, was kinda giving Bruce the brush-off and he quickly forgot about Springsteen. However Springsteen took Appel's suggestion about the lyrics literally and went to work on writing some new stuff.

Sprngsteen left to visit his family in California in Dec 1971 for a Xmas break and got back in late January. He wrote a bunch of songs during the time and re-contacted Appel when he got back.

AUDITION #2 (Feb or March 1972) - attended by Springsteen, Mike Appel and Bob Spitz. Bruce performed about 7 newly written songs on acoustic guitar - "Saint In The City" (twice), "For You", "Arabian Nights" and a couple of others......this new material blew Appel away and Appel was ready to sign Bruce on the spot.

There was actually another get together (of sorts) a few days after....Appel asked Bruce to come back into the city and play a few things for Appel's songwriting partner, Jimmy Cretecos. Mike wanted Jimmy to join him in the Springsteen business venture. Cretecos was equally impressed. So they signed Bruce a week or so later.
[]The Largo show was never professionally filmed.
It was filmed by two cameras for the in-house screens and directed "on-the fly".
Max is shown in the last song of the show.
That?s not professional direction to my standards. [/]Which part do you find not professional enough? The absence of Max, or the fact that the show was "only" filmed using inhouse cameras? (Which in my book is completely professional.)
Vive Le Resistance!
Dennis, every baseball/football/hockey/soccer game ever televised is "directed on the fly". That means nothing. And obviously the camera operators were paid to do their work - whether for in-house production or not.

And regardless, if I'm forced to choose a production where I don't see Max until the last song, or that schizophrenic change-camera-shot-every-two-seconds mess that is Live In Barcelone, I'll take the former, thank you.

Yeah,  It's me.

[/]Which part do you find not professional enough? The absence of Max, or the fact that the show was "only" filmed using inhouse cameras? (Which in my book is completely professional.) [/]

The placing of the cameras ain?t "professional" by any standards.
I?m pretty certain they didn?t use reels for any of those two cameras, therefore mixing this film recording today will not be possible.
As I said on GL, I find the 78 Largo DVD being one of the most overrated concert films ever seen.
Yes, the concert is fucking great.
Yes, the fact it even exist in such quality is fucking incredible.
Yes, the setlist is to fucking die for.
But as a concert film, it just ain?t good.

The Largo 80 DVD is miles and miles better when it comes to filming, editing and directing and a far better contender if they want to make the effort of cleaning up an in-house, non-professinal recording, for official release.

I’m a first friday live shows-aholic and i'm proud of it

[]Earthslayer has 2000+ posts on GL? Maybe we can offer a healthy incentive-laden free-agent contract and woo him to our team. If not, we need to find a SPL-centric Earthslayer-type for our board, too. [/]
Earthslayer has that many posts because he posts frequently in the Underworld (the political forum at GL).
I'd like to thank absolutely fucking nobody.
[]Dennis, every baseball/football/hockey/soccer game ever televised is "directed on the fly". That means nothing. And obviously the camera operators were paid to do their work - whether for in-house production or not.

And regardless, if I'm forced to choose a production where I don't see Max until the last song, or that schizophrenic change-camera-shot-every-two-seconds mess that is Live In Barcelone, I'll take the former, thank you. [/]

If the interview with Zimny in the last issue of Backstreets gives us any clue of what to expect in the future we can definitively outrule the Largo film.

When asked why they choose Hammersmith over Roxy and Bottom Line footage he states that "Simply because it was captured on 16mm film with angles that best represented a view of the band that wouldn?t be limited. The quality of the filmmaking, that?s the best way I can put it".

There?s no reason at all to believe this rules won?t affect a potential Darkness and/or The River DVD.

I’m a first friday live shows-aholic and i'm proud of it

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