Source:

http://live.brucespringsteen.n...music-streaming.html

 

BS

 

HOVET
STOCKHOLM, SWE

  • Bruce Springsteen - Lead vocal, electric and acoustic guitars, ukulele, harmonica, electric piano, acoustic piano, pump organ
  • Additional musicians:  Alan Fitzgerald - Off-stage keyboard
  • Recorded by John Cooper
  • Mixed from 24-track by Jon Altschiller; Additional engineering by Danielle Warman
  • Mastered by Adam Ayan, Gateway Mastering
  • Post-Production by Brad Serling and Micah Gordon
  • Artwork Design by Michelle Holme
  • Cover photo by Danny Clinch
  • Tour Director: George Travis
  • Jon Landau Management: Jon Landau, Barbara Carr, Jan Stabile and Alison Oscar
  • HD Files are 24-bit /96-kHz - Audiophile DSD files are DSD 64

 

SET ONE
01. DOWNBOUND TRAIN 05:23
02. REASON TO BELIEVE 06:27
03. DEVILS & DUST 04:39
04. EMPTY SKY 04:24
05. LONG TIME COMIN' 05:42
06. BLACK COWBOYS 04:28
07. THE PROMISE 04:34
08. THE RIVER 08:20
09. PART MAN, PART MONKEY 02:57
10. ALL I'M THINKIN' ABOUT 05:27
11. ACROSS THE BORDER 04:52
12. RENO 04:55
13. POINT BLANK 05:48
14. WALK LIKE A MAN 04:00
15. MY HOMETOWN 04:42
16. THE RISING 05:38
17. LUCKY TOWN 06:58
18. JESUS WAS AN ONLY SON 04:26
19. THIS HARD LAND 05:23
20. THE HITTER 07:31
21. MATAMOROS BANKS 07:38

ENCORE
01. RAMROD 04:23
02. BOBBY JEAN 05:09
03. BLINDED BY THE LIGHT 06:40
04. THE PROMISED LAND 08:05
05. DREAM BABY DREAM 08:25

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where did it all go wrong?

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Last edited by desa33
Original Post

Source:

https://www.nugs.net/06-11-202...the-half-either.html

 

He Who Doesn’t Get The Whole, Doesn’t Get The Half Either

 

By Erik Flannigan

Many nations can lay claim to being Bruce Springsteen’s second home or adopted country. Italy has a strong case, given the ancestral roots of Bruce’s mother Adele (maiden name Zerilli) and a history of special shows that took place there, particularly in Milano. England is in the conversation too, with an incredible run of concerts dating back to 1975, and the passion of Spanish fans is well documented on Live in Barcelona. Australia may be a latecomer, but there’s no denying the love affair between Bruce and the land down under that played out in two major tours in 2014 and 2017.

Yet it would be hard to deny Sweden the symbolic honor of first among equals. Sverige’s history with Springsteen also dates back to 1975, when it was one of three markets Springsteen played on a brief European sojourn on the Born to Run tour. But the special relationship really starts with a pair of shows inside the very building in which this Devils & Dust performance takes place. Then called Johanneshovs Isstadion, the venue was the site of two legendary nights on the 1981 European leg of the River tour, memorialized on the famous vinyl bootlegs Follow That Dream and Teardrops on the City.

Four years later, Gothenburg cemented its place in the narrative with two dates at Springsteen’s home away from home in Sweden, Ullevi Stadium. Legend has it the passionate response of fans in Ullevi actually caused structural damage to the building in ‘85, and Springsteen has played the stadium nine times since that human rumble took its toll. Throw in the 1988 radio broadcast from Stockholms Stadion, the Tom Joad tour at Cirkus, and many other celebrated gigs, and the case is quite compelling. The country’s passion for Springsteen never wanes. Case in point: He sold out three stadium shows in Gothenburg alone in 2016, where it would appear he is as popular now as he was in 1985.

You can hear the special bond with Bruce’s Swedish fans on Stockholm 2005. Jon Altschiller’s mix showcases the audience-artist dynamic and the interplay between the two that makes live performance so special and so missed in these times of social isolation.

One element that made the Devils & Dust tour so bewitching was ever-changing setlists. At nearly every stop, Bruce dusted off a few songs that had been sitting on the shelf awhile and added them to a common core. In Stockholm, he opens with the tour debut of “Downbound Train,” hearkening back to those Ullevi ’85 shows. Boldly, the second song of the night is one of the highlights of that common core, “Reason to Believe.” Springsteen completely reimagined the song on this tour, transforming “Reason to Believe” into a Delta blues stomper with his inventive use of the bullet microphone.

Bullet mics are designed for harmonicas, with intentionally limited frequency range (usually cutting anything above 5,000 khz) and distortion. For his new take on “Reason to Believe,” Bruce played harmonica and sang his vocals through the bullet mic, distorting his voice and crunching down the sound to an eerily narrow slice.

The result sounds like an otherworldly transmission from the Crossroads or a lost Bluebird 78 RPM record spinning in the past. Rearranging his own songs is something Springsteen has excelled at going all the way back to “E Street Shuffle,” but this radical and riveting “Reason to Believe” is one of his most memorable and a standout every night of the Devils & Dust tour.

“Empty Sky” from The Rising had a second act on the tour as well, making close to two dozen appearances. The mournful tale rides Springsteen’s percussive acoustic guitar and focused vocals. Two guitar songs follow, the heartfelt parental reflection “Long Time Comin’,” which gains poignancy when Springsteen sings off-microphone, and the least-played track from Devils & Dust, “Black Cowboys,” which made 16 setlists in 2005.

Bruce moves to the keys for a rare outing of “The Promise,” in its first ever performance in Sweden. What a moment that must have been for diehard fans, five years before it became the title of the Darkness on the Edge of Town box set. We go down to “The River” on piano as well, with a striking prelude that starts with a single note, builds, swells and then settles solemnly before Bruce sings the evocative first lines.

Though it had been a standard feature on the Tunnel of Love Express tour, Bruce’s entertaining evolution tale, “Part Man, Part Monkey,” had its own second life on the Devils & Dust tour, a narrative befitting the candor Bruce was expressing about human behavior in story and song during the shows, sometimes in deeply contrasting ways. Several Link Wray guitar turns only add to the appeal.

“All I’m Thinking About” is an underrated charmer. Sung in a faltering falsetto, it’s a series of sweet, real-life snapshots (little boys carrying fishing poles, little girls picking huckleberries) set to a simple chorus of devotion (or obsession?). Two songs later in “Reno,” fishing poles and blueberries give way to a price list of front and back door sexual access. Damn.

Snuck in between (no pun intended) is “Across the Border,” played for the first time since the Joad tour, augmented with a rich, accordion-like harmonica. You’d never know Springsteen hadn’t played it in so long, his reading is faultless.

Over to the irresistible eclectic piano we go for “Point Blank,” sounding more haunting and knowing than ever, then a true gift, “Walk Like a Man,” making its second archive appearance this year. Springsteen starts it on electric piano (not unlike the arrangement of “Tunnel of Love” from the previously released Grand Rapids 2005 show) and it unfolds warmly. It’s interesting to note that when he last played the song in 1988, he had no children of his own. Singing it here, Bruce is son and father. The song’s gravitas rises for the final verse as Bruce switches to full piano and the arrangement grows richer and more confident. What a gift to have two incredible live versions in our hands now.

That theme of fatherhood is enhanced with the piano pairing of “Walk Like a Man” with “My Hometown” in a powerful, straight-ahead reading where every line rings true. With that, the first half of the show concludes and we move back to guitar for “The Rising” and an intense take of “Lucky Town,” with Bruce strumming his acoustic with physicality and conviction like “Darkness on the Edge of Town” at the 1990 Christic Institute performances.

The back nine of the show rides his conviction to excellent performances of a trio of story songs, “This Hard Land,” “The Hitter,” and “Matamoros Banks.” One might go so far as to call “The Hitter” the closest thing to an unpublished screenplay Springsteen has penned since “Highway Patrolman” and until Western Stars, where it could have slotted in nicely. As character studies go, it is one of his finest.

As he does so masterfully, Springsteen rounds the bend and lightens the mood with a storming, Seeger-ized “Ramrod,” Dylan-ized “Bobby Jean” and a true-blue “Blinded By the Light,” making its Scandinavian premiere 32 years after its release.

The show wraps with the soul-stirring Devils & Dust tour pairing of “The Promised Land” and a cover of Suicide’s “Dream Baby Dream,” both offered in meditative, at times mantra-like arrangements. In “Dream Baby Dream,” the words “keep on dreaming” and “I just want to see you smile” sink into our subconscious, floating on dark-cloud organ notes that brighten as they turn towards heaven. Given the genuine dark clouds that so many of us are weathering, the spiritual power of the “Dream Baby Dream” mantra may provide genuine solace. 

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where did it all go wrong?

Reason To Believe

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where did it all go wrong?

disappointed with the show choice.

Seems like they either don't want to dip into the vault for anything good or those shows don't exist in the archive,

=============================================================

Someday's you're the statue, someday's the pigeon.

you have go to be kidding

 

wtf

 

wtf

 

wtf

----------------------------------------------
  Dream baby dream

4 shows from 2005 is 3 too many

 

if they wanted to honour Swedish fans , and they do desrve honouring, then the stadium breaker would ahve been the choice

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  Dream baby dream

Seems like they either don't want to dip into the vault for anything good or those shows don't exist in the archive,

That's what I thought, too, when I first saw this release. We now have 4 D&D shows, 4 Tunnel shows, 4 from 2009, 4 from 2012, and the Darkness shows, but other tours are not as well represented. There are only 2 from 1975, 1981, 1984, 1999, and 2008. There is also only 1 from 1985,  2000, and 2007. We know they have more shows in the archive from all those years and they have chosen not to release them.  Why not? Who is choosing the releases? Bruce? Bruce Inc.? Nugs?


 

"I've done my best to live the right way"

Adding to the long list of those disappointed. And yes, they have plenty more older shows in the archive.

@LB posted:

Seems like they either don't want to dip into the vault for anything good or those shows don't exist in the archive,

That's what I thought, too, when I first saw this release. We now have 4 D&D shows, 4 Tunnel shows, 4 from 2009, 4 from 2012, and the Darkness shows, but other tours are not as well represented. There are only 2 from 1975, 1981, 1984, 1999, and 2008. There is also only 1 from 1985,  2000, and 2007. We know they have more shows in the archive from all those years and they have chosen not to release them.  Why not? Who is choosing the releases? Bruce? Bruce Inc.? Nugs?

Thanks for keeping track of this stuff

I asked Sony your question

Also who do we ask about his radio show

Bruce community has power, they know who we are

people would jump onstage and grab me by the head and scream, ‘tilly! bootlegs!'"

@Rick56 posted:

4 shows from 2005 is 3 too many

 

if they wanted to honour Swedish fans , and they do desrve honouring, then the stadium breaker would ahve been the choice

1981-05-08 would be the "choice" for me.

Anyhow, I was on 2005-jun-05, so for me a good one.

@bardas posted:

Great choice

They should release all the shows from 2005

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  Dream baby dream

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