From backstreets.com:

A MESSAGE FROM NUGS.NET
While we hate to be the bearer of bad news, it's good to know what's going on — in this case, that we'll have to wait until later in December for a new release in the live archive series. This just in today from Nugs:

The holidays are here and per archive series tradition, we're hard at work on a special release for Christmas. Due to that ongoing work there will not be a First Friday release tomorrow, but rest assured it will be worth the wait.

- December 5, 2019

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where did it all go wrong?

Original Post

It better be Winterland 1978 in order to be "worth the wait," though 12/12/75 would also be good and appropriate. Unfortunately, I think KM is right and the delay is due to getting the guest musicians to sign off on it.


 

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

it is amazing how the first friday in december is very sneeky in the way it suddnely appears in the calandar as opposed to being there for a year in advance (and many years actually)

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  Dream baby dream

Is there an "end-date" to Springsteen's Archival Release program?

I have wondered if perhaps he was saving a few "special" shows (like Winterland '78 and Vietnam Veterans of America Foundation '81) so he could end the program with a bang.

If true, when we see one or more of these wildly popular remaining shows be released, we'd know it could be over.

 

 

I don't foresee an end date, maybe an interlude if God forbid, something happened to Bruce.  I think JL and his heirs would keep it going.  The archives would be more popular then ever.  It would be his legacy.  After all Bruce is known best for his live shows. 

____________________________________

The SPL Rocks!

 

Pulled up to my house today
Came and took my little girl away!
Giants Stadium 8/28/03



Oats

I agree with each of the points you make, Oats.

I often wonder how many shows from 1973 - 2000 were recorded in high-enough quality for Bruce to approve their releases. It wouldn't surprise me to learn most of Bruce's show's from 2002-present have been professionally recorded, but what if we are nearing the end of the pristine recordings from 1973-2000? We know there must be at least a handful more, correct? But are there 25-30 more?

I, for one, would suggest the Archive Series would lose much of its lustre once the 1973-2000 library is exhausted.

 

 

Possibly?  It wasn't that long ago one of the guys here on the SPL put up a post regarding the science behind why we love shows so much from our teens and early adult hood.  Yep, there is  sound reason for it.  No pun intended.  

I first saw Bruce and the band in January 1974 and haven't stopped. I went to two of the 78 Capitol Theater shows.  You can never bring back the youthful exuberance or the thrill of seeing a great band early in their career.

But when I analyze the shows after 2000.  Some of them are both Bruce's and the band's best work.  In addition you're getting a more rounded, better setlist.  Bruce has so many more albums to draw from.  The band is the tightest they have ever been.  I would argue that the 2016 tour may have been Bruce Springsteen and the E Street Band's finest  tour in almost every way, especially the last 10 stadium shows.  Granted two original members are missing and missed.  But Charlie and Jake have been terrific. When I listen to or look at the last 10 shows of that tour.  They played the longest shows of his career and drew the largest crowds of his career.  Look and see how many different albums are represented.  A couple of great covers thrown in at every show. I sort of wish they weren't released and got the full archive treatment.  Fabulous, fabulous shows.  I don't think we'll ever see shows like those again.

____________________________________

The SPL Rocks!

 

Pulled up to my house today
Came and took my little girl away!
Giants Stadium 8/28/03



Oats

Since we hijacked Desa's thread, I'll try to get back on point. 

After much research and deliberation by Bruce's team... I heard they narrowed it down to these three... sort of:

2007-12-19 O2, London

2004-12-19 Harry's Roadhouse

2003-12-05, 07, 08  either one or a comp of all three.  Ho, Ho, Ho

____________________________________

The SPL Rocks!

 

Pulled up to my house today
Came and took my little girl away!
Giants Stadium 8/28/03



Oats

I hope you're wrong. but it's probably going to be one of the 2003 shows.

Back to the hijacking  . . .

I don’t think the E Street Band is as great without Clarence and Danny. Jake and Charlie are excellent musicians, but they don’t play with the same soulful intensity as Clarence and Danny. Jake and Charlie play the right notes, but it’s not just what one plays, it’s how one plays.

I agree that the last shows of 2016 are the best string of shows of the post-Clarence/Danny era. But the Darkness and River tour were the E Street Band at its best. There’s an energy, intensity, exuberance, and soulfulness to those shows that they never quite equaled. This is something that especially becomes apparent listening to the archive series. Listen to the Roxy, Agora, Passaic (envious your were there Oats), Tempe, Nassau, and Wembley and compare those shows with anything later.  In the archive series, it’s only Stockholm 1988 and the three Reunion tour shows that are comparable. (To me, all the BITUSA shows are lessened due to setlist issues.) Of the post-Danny shows, the 2008 St. Louis is the one for the ages.

As for the archive series sources, what about all those soundboards they received from the soundman? We got the two 1977 shows, but there are probably a lot more. I’d prefer a soundboard from Boston 1977 to anything from 2012 or 2013.


 

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

Oats posted:

Since we hijacked Desa's thread, I'll try to get back on point. 

After much research and deliberation by Bruce's team... I heard they narrowed it down to these three... sort of:

2007-12-19 O2, London

2004-12-19 Harry's Roadhouse

2003-12-05, 07, 08  either one or a comp of all three.  Ho, Ho, Ho

O2 O2 O23 O2 O2

i was there so

 

o2 o2 o2 o2 o2 o2 2o

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

Personally, I don't believe the figure they put out a while back. I think there are still plenty of soundboards from the 70s to 80s still waiting to be released. Radio broadcasts, shows recorded for posterity, and all the shows that were used on the Live 75-85 boxset. My two cents.

 

Best case, we get one or both nights of Winterland. Worst case, we get one of the holiday shows from Asbury Park. Nothing wrong with them but there is two soundboards from them and plenty of audience tapes.

http://m.live.brucespringsteen....asp#show?show=

  • Notes
    • ORDER BOTH WINTERLAND '78 SHOWS TOGETHER HERE!
    • Bruce Springsteen - Lead vocals, guitar, harmonica; Roy Bittan - Piano, backing vocal; Clarence Clemons - Tenor and baritone saxophones, percussion, backing vocal; Danny Federici - Organ, glockenspiel; Garry Tallent - Bass, backing vocal; Stevie Van Zandt - Guitar, backing vocal; Max Weinberg - Drums
    • Recorded live with the Record Plant Remote Truck by Pete Carlson
    • 15 IPS, two-track master reels transferred by Jamie Howarth, Plangent Processes
    • Audio engineering and restoration by Jon Altschiller; Additional engineering by Danielle Warman
    • Mastered to DSD and PCM by Adam Ayan at Gateway Mastering, Portland, ME
    • Post Production by Brad Serling and Micah Gordon
    • Small portions of “The Promised Land,” “Jungleland,” “Fire,” “Quarter To Three” and Bill Graham’s introduction are missing on the master tapes; a two-track broadcast recording was used to complete the show
    • Art Design by Michelle Holme; Cover Photo by Pjay Plutzer
    • Tour Director: George Travis
    • Jon Landau Management: Jon Landau, Barbara Carr, Jan Stabile, Alison Oscar
    • HD files are 24 bit/192kHz; Audiophile DSD files are DSD128 (“Double DSD”)
    • CDs will ship the week of Jan 13, 2020
    • Read the essay by Erik Flannigan

http://m.live.brucespringsteen....asp#show?show=

  • Notes
    • ORDER BOTH WINTERLAND '78 SHOWS TOGETHER HERE!
    • Bruce Springsteen - Lead vocals, guitar, harmonica; Roy Bittan - Piano, backing vocal; Clarence Clemons - Tenor and baritone saxophones, percussion, backing vocal; Danny Federici - Organ, glockenspiel; Garry Tallent - Bass, backing vocal; Stevie Van Zandt - Guitar, backing vocal; Max Weinberg - Drums
    • Recorded live with the Record Plant Remote Truck by Pete Carlson and Jimmy Iovine
    • Two-inch, multi-track master reels transferred by Jamie Howarth, Plangent Processes
    • Audio engineering by Jon Altschiller; Additional engineering by Danielle Warman
    • Mastered to DSD and PCM by Adam Ayan at Gateway Mastering, Portland, ME
    • Post Production by Brad Serling and Micah Gordon
    • Art Design by Michelle Holme; Cover Photo by PJ Plutzer
    • Tour Director: George Travis
    • Jon Landau Management: Jon Landau, Barbara Carr, Jan Stabile, Alison Oscar
    • HD files are 24 bit/192kHz; Audiophile DSD files are DSD128 (“Double DSD”)
    • CDs will ship the week of January 13, 2020
    • Read the essay by Erik Flannigan

Read the essay by Erik Flannigan

 

Walking in a Wonder Winterland

Bruce Springsteen and The E Street Band

Winterland Arena, San Francisco, December 15 and 16, 1978

By Erik Flannigan

The home stretch of the Darkness tour in late 1978 may look like a victory lap, but its purpose was to return to key markets and seal the deal. The final push raised Springsteen and the E Street Band up from theaters played on previous legs to bigger rooms, with dates in arenas in cities like Cleveland, which closed the tour with a pair of shows at the Richfield Coliseum on New Year’s Eve and New Year’s Day 1979.

In the Bay Area, that meant graduating from the Berkeley Community Theater and San Jose Center For the Performing Arts, played in the summer, to back-to-back nights at legendary promoter Bill Graham’s Winterland, capacity 5,400.

The first night at Winterland would also serve as the fifth and final live radio broadcast from the Darkness tour, thrilling listeners around the Bay Area on KSAN-FM and strategically extended via simulcast to audiences in Sacramento, Eugene, Portland, and Seattle on their respective rock stations. The simulcast primed the pump in two of those markets, as Bruce would play the Rose and Emerald cities in just a few days’ time.

By that point, Springsteen’s management and Columbia Records had recognized that the Darkness tour broadcasts which preceded Winterland (The Roxy in Los Angeles, Agora in Cleveland, Passaic, and Atlanta) were a powerful marketing tool, not only reaching established fans in core and adjacent markets but converting fence-sitters who were loyal listeners to those all-important rock radio outlets. Live concerts were already a staple of FM radio at the time, including nationally syndicated shows like the King Biscuit Flower Hour and Rock Around the World. Simulcasts of local concerts were equally common on FM stations like WMMR in Philadelphia and WMMS in Cleveland.

But Springsteen’s strategy and tactics were unique. No artist I know of had ever done five live broadcasts from the same tour and simulcast the shows regionally — taking over the airwaves for three hours at a clip, no less. In the process, Bruce built an alliance of rock stations, and their listeners that would remain loyal for years to come. Springsteen had long enjoyed incredible word of mouth about his concerts, but the ’78 broadcasts provided tangible, recordable, and shareable proof.

There was also an idea in the air that the follow up to Darkness on the Edge of Town simply had to be a live album. The broadcasts provided an opportunity to roll in a remote recording truck and kill two birds with one stone, sending the show over the air and capturing it to multi-track tape for potential future release. It just took a few decades longer than expected.

Fans and collectors have spent millions of pixels on message boards discussing and debating which shows were recorded on multi-tracks and wondering why more early Bruce gigs weren’t done. Beyond the expense (which was significant), the act of recording a live concert to multi-track itself was no simple feat circa 1978.

A 24-track, two-inch, reel-to-reel tape recorder is a massive piece of heavy equipment with a large footprint. The recorders are mounted on carts with industrial casters so they can be rolled into position. Two-inch recorders also require a lot of power to operate, and they are extremely sensitive to the conditions of their environment, particularly temperature.

Oh, did I mention you need two of them to record a concert without gaps? Two-inch tape and recorders were designed to record one song in the studio, not a three-hour concert. Given their short tape lengths, a recording engineer had to start a tape going on one machine, wait for it to run most of the way through, then fire up a second overlapping tape on the second machine and so on. Back and forth they would go: loading, recording, and switching tapes in real time on two machines to preserve a full performance. Today, you can record an entire show to multitrack on a laptop and a breakout box that fits in a backpack.

Given the complex logistics, it should come as no surprise that multi-track recording could occasionally go wrong, even with experienced engineers and producers in the truck. Whether there were complications on the night or tapes were lost over time, the surviving multi-track reels of the first night of Winterland cover less than half the show. The inclusion of “Fire” on Live 1975/85 from 12/16, not the better-known 12/15, may be a clue that the problems occurred on the night in question.

Luckily, remote recording units typically carried a third reel-to-reel deck with them as well: a high-quality, 15-IPS, two-track recorder to serve as a back-up/reference capturing the front-of-house mix as it happened. That’s exactly what the Record Plant’s R2R did on December 15, 1978, recording a pre-broadcast stereo feed from the mixing board.

Forty-one years later, we’re fortunate those two-track, 15-IPS masters from the familiar 12/15 show were recently unearthed, along with the complete multitrack masters from the previously unheard 12/16 set. Both sources have been newly transferred via Plangent Process, restored (12/15) and mixed (12/16) by Jon Altschiller and mastered by Adam Ayan to deliver a complete document of the Winterland stand, both the beloved broadcast performance from night one and the fresh-to-the-world set from night two.

A bounty of two peak Darkness concerts should be at the top of anyone’s holiday wish list. Most will know the celebrated 12/15 set like the back of their hand from tapes and bootlegs of the broadcast, but for 12/16, here’s a user guide to this wonderful addition to the live Darkness canon.

1) Bruce changed the set on night two in deference to fans attending both shows, opening with “Good Rockin’ Tonight” and playing “Rendezvous” for the first time on the tour. Incredibly, “Rendezvous” is one of six unreleased originals performed in the 25-song set, along with “Independence Day,” “The Fever,” “Fire,” “Because the Night” and “Point Blank.”

2) Introducing a weighty “Independence Day,” Bruce says, “This is a song I wrote a couple years ago. I was originally going to put it on Darkness on the Edge of Town. This is called ‘Independence Day.’ This is for my pop.” With his parents living in nearby San Mateo, we can assume that Douglas was very likely in the audience for the performance.

3) Bruce tells a completely different and much longer story than night one setting up “Santa Claus is Comin’ to Town.” The tall tale includes entertaining references to Johnny Carson and Kellogg’s Pop Tarts, plus some audible chiming in from Stevie Van Zandt, who wants a new amplifier from Saint Nick.

4) Bruce dedicates “Racing in the Street” to “all the San Francisco night riders,” but after singing “Tonight, tonight, the strip’s just right” he goes totally blank. “I forgot the words,” he says. It is an endearing and rare moment of vulnerability, which he not only recovers from gracefully, but which seems to inject the show with an adrenaline shot: from that point forward, Springsteen and the band are en fuego. “Jungleland” brings the first set to a crackling close, riding the powerful dynamics of Clarence Clemons on saxophone and Van Zandt’s guitar solo, setting the table for a stunning second act.

5) “It’s Hard to Be a (Saint in the City)” is another set list change and serves as a stonking start to a second set for the ages. The guitar tone on this one should be bottled as a stimulant.

6) “Because the Night” begins with what might best be described as an experimental guitar intro that is more a sonic survey of echo, delay, and sustained notes than strumming. It’s the most Frippertronics approach I have ever heard Springsteen explore. Fascinating.

7) How about the version of “She’s the One”? The intro weaves “Mona” and “Preacher’s Daughter,” while Bruce later riffs on Van Morrison/Them’s “Gloria.” Stevie sings soulful retorts all over the performance, all in the service of Bruce’s heightened lead vocal. Listen to the incredible run he takes through, “Just one kiss, she’ll turn them long summer nights, with her tenderness / The secret pact you made, when her love could save you, from the bitterness… WHAAAAHOO!” Holy crap.

8) “The Fever” is focused and luscious, providing a deserved spotlight on the band, especially Danny Federici and the Big Man, who shine ever-so-brightly as they thread their solos around each other. Rest in peace, E Street icons.

9) A slightly shambolic “Detroit Medley” features a rare foray into Jerry Lee Lewis’ “Whole Lotta Shakin’ Goin’ On.”

10) Finally, connoisseurs of audience noise (and I know you’re out there) should be extremely pleased with the level of fan interaction in Jon Altschiller’s mix. The crowd is ever-present and in full voice throughout the night and who can blame them?

Thanks to former Columbia product manager Dick Wingate for supplying contemporary information and documentation about the Darkness tour broadcasts.

This brings back the controversy of the final song of the first night:

The identity of the final song has been the topic of heated debate over the years, one fan present says "It looked like the show was over. The band was gone. But no one else would leave. The place - I guess about 5000 in festival seating, actually standing - was just roaring, going nuts. Bruuuuce, on and on. Finally, he came back alone, and the band finally trickled out and Bruce said, "We're off the radio now, but I'll do one more for you guys. This is the first song I ever learned to play on the guitar," and then "Twist and Shout". A great version, too. He was standing on speakers ten feet off the floor. I was there and I'd stake my life on it." However, others are just as insistent that the final song was "Quarter To Three", and other concerts around this time all have "Quarter To Three" as the final song, which supports this view. There is an interview with photographer P.J. Plutzer in Backstreets magazine #49 (Spring 1995), and he clearly states that "Quarter To Three" was the final encore. Plutzer shot some forty shows between 1975-84 including both Winterland gigs. Given the evidence, it is feasible (and perhaps most likely) that Springsteen left the stage after "Quarter To Three" and returned some minutes later (perhaps up to fifteen or twenty, maybe more) to perform "Twist And Shout" in front of those who remained, as he did in Seattle five days later. Perhaps those who are certain that "Quarter To Three" was the final song left the venue and were unaware of Springsteen's return to the stage. 

Interesting that on back to back nights with night 1 being broadcast on the radio that there was really only a 4 song difference (nowadays it could be a 10 song difference night to night but he has a much bigger catalog these days):

Songs unique to night 1:

Streets of Fire, Factory, The Ties That Bind, Raise Your Hand

Songs unique to night 2:

Good Rockin' Tonight, Rendezvous, Independence Day, It's Hard To Be A Saint In The City

 

 

 

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Rick56 posted:

clarifies about quarter to three then

Maybe.  It's possible that he could have come back out and played a song without the recording equipment capturing it.  That being said, the more likely scenario is that the person remembering the extra encore is conflating a different show/experience with the Winterland show.  Our memories are really good at doing odd things like that.

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