| 26th February 2006 08:15 AM |
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| corgi37 |
Springsteen?
Folk covers?
To quote Iron Maiden:
"Run to the hills!" |
| 26th February 2006 09:25 AM |
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| rasputin56 |
Well, glad to see at least a couple of people here "get" Springsteen. For those doubters out there, put on Nebraska, Darkness and Rising then rush out and grab a couple of tickets if he ever goes out with the E Street Band again and I'll guarantee you'll have a different view.
Oh, and I'm still chuckling over that Frampton reference. Sheesh.
[Edited by rasputin56] |
| 26th February 2006 12:13 PM |
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| glencar |
IanBillen sez: (hell who am I to talk). Shut up already! |
| 26th February 2006 02:11 PM |
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| rasputin56 |
IanBillen sez: (hell who am I to talk). It just aint my gig! Dude. |
| 26th February 2006 04:41 PM |
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| IanBillen |
[quote]Zack wrote:
Ian, you slay me. Especially the Peter Frampton reference.
(By the way, that was my favorite album when I was 13. "I wan choo . . .")
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Well I actually think Frampton Comes Alive is the best selling live album of all time. Or at least it once was. Strange thing about that dude was he was no major star until he released a live album.....? Then everyone went Frampton Happy. Kinda backwards eh. But it happened.
Ian |
| 26th February 2006 06:18 PM |
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| Ronnie Richards |
Bruce is the greatest performer in rock'n'roll and Darkness is the best - and truest - album ever made.
That being said, both quantity and quality of his songwriting have waned since the 80's, and releasing a cover album now seems to be conclusive proof of this. |
| 26th February 2006 06:46 PM |
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| glencar |
You are on a posting roll! |
| 26th February 2006 06:50 PM |
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| Ronnie Richards |
I am!
Give me a few days, and I'll have more posts than you! |
| 26th February 2006 06:51 PM |
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| glencar |
LOL Go for it! |
| 26th February 2006 11:09 PM |
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| Zack |
quote:
IanBillen wrote:
[quote]Zack wrote:
Ian, you slay me. Especially the Peter Frampton reference.
(By the way, that was my favorite album when I was 13. "I wan choo . . .")
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Well I actually think Frampton Comes Alive is the best selling live album of all time. Or at least it once was. Strange thing about that dude was he was no major star until he released a live album.....? Then everyone went Frampton Happy. Kinda backwards eh. But it happened.
Ian
My point was, in case you missed it: What the fuck does Peter Frampton, a British pop/rock guitarist famous for five minutes in the mid-1970s have to do with a Bruce Springsteen album from 1984? |
| 26th February 2006 11:39 PM |
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| IanBillen |
[quote]Zack wrote:
My point was, in case you missed it: What the fuck does Peter Frampton, a British pop/rock guitarist famous for five minutes in the mid-1970s have to do with a Bruce Springsteen album from 1984?
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Well in 1983 where I lived and most other places in The USA, Bruce was anything but alive. He was pretty dead. Basically old-hat at that point.
And the point of him coming up and rising to fame from out of nowhere in 1984 to this huge success was kinda like, to me, and some others basically like Peter Frampton, a seventies leftover forgotten artist, suddenly becoming the biggest thing since sliced bread from out of nowhere.
This is why I compared the two. In 1983, Bruce had about as much POP magnitude as any other left over artist from The Seventies. Right along the same lines as Peter Frampton at that time Actually just a step above Frampton at that point and that was it. And yes, if BITUSA never had been made Bruce Springsteen, would of long been forgotten.
Ian |
| 26th February 2006 11:42 PM |
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| glencar |
You really are stupid. Really stupid. You know nothing about music or what's going on. Please quit whilst behind. |
| 27th February 2006 04:48 AM |
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| Zack |
I hate to prolong this, but where do you live, Mars?
Here is a snapshot of Bruce's profile in the late 70s-early 80s.
Darkness on the Edge of Town (released 6.2.78)
US #5, sales: 3 million
The River (released 10.10.80)
US #2 sales: 5 million
Nebraska (released 9.20.82)
US #3 sales: 1 million
So if you count the earlier albums, the great Springsteen had sold 19 million records in the States before BITUSA was even released.
But it's not really about album sales is it?
Sheesh.
http://en.wikipedia.org/wiki/Bruce_Springsteen_discography
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| 27th February 2006 04:54 AM |
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| Gazza |
quote:
IanBillen wrote:
Well in 1983 where I lived and most other places in The USA, Bruce was anything but alive. He was pretty dead. Basically old-hat at that point.
absolute cock. "The River" tour - his most recent tour before that - had sold out arenas throughout America and Europe and ran for a year before ending (in your home state) in late 1981
"Nebraska" only didnt sell as well as "The River" because it was a solo album, he released no singles from it and didnt tour behind it.
Seriously, Ian - give it up. It's embarrassing.
[Edited by Gazza] |
| 27th February 2006 09:20 AM |
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| rasputin56 |
The word "whilst" just isn't used enough anymore.
I do hope to see more of Ian's posts, though. The chuckles he's giving me are great.
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| 27th February 2006 09:27 AM |
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| glencar |
I like seeing him dig himself a larger hole whilst attacking other people's intelligence. |
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| IanBillen |
[quote]glencar wrote:
I like seeing him dig himself a larger hole whilst attacking other people's intelligence.
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I don't think I ever attack other peoples intelligence. The only people who do this are insecure about their own or are very immature being as it is un-called for just because someone has a different view...hint-hint-hint
Ian
[Edited by IanBillen] |
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| IanBillen |
Alright, sure, yes he sold how many albums. But how relevant he was at that time has NOTHING to do with it. Hell Look how many Fleetwood Mac sold in the seventies....and yes, by 1984, they too were dead. Look at Michael Jackson now. Hell he has possibly the greatest selling album of all time. He has sold many more than almost anyone over-all. But how marketable is he in 2006?
Bruce never even had a number one album until Born in The USA. What the hell does that tell you!
Secondly, the dude was not exactly all over the radio in those years leading up to that. Sure he had some seventies hits. But nothing real major that I can recall (besides Born To Run) were any mention until like BITUSA
If you would of went up to a 19 year old kid in 1983 and said Bruce Springteen he would of passed him off. Believe me.
Bruce was no legend before Born in The USA like folks here are trying to say.
He wasn't really being played on the radio with any eighties material until that point in 84. I remember The River was a success. I remember that. But we as kids didn't even know any tunes from it. It was kinda like an older dudes scene and wasn't really mainstream where I was. Bruce Springteen was with the older generation it seemed to me.
Van Halen, Michael Jackson, Duran Duran, Journey, Foreigner, The Police, The Cars....those were the hot groups at that time. If you would of said "Bruce Springteen, The River" to any of the younger crowd, they knew who Bruce was...but they would of passed it off as an older persons seventies gig. None of us knew more than two songs by the dude at that point and time. And certainly none of us had any of his albums. Until BITUSA Bruce was seen, where I was, as being kinda a past seventies thing. Then when BITUSA fever hit he was right up there on the top of the planet with those bands, hell except for Michael Jackson, he was probably bigger than em all possibly, for a good while there anyway. I was like, as a youngster, where did that come from?
Ian
[Edited by IanBillen] |
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| Zack |
Review by Thom Jurek
Hammersmith Odeon, London '75 is the disc for those fans who didn't want to pony up the big money for the 30th anniversary edition of Born to Run and its two DVDs. This is the soundtrack for one of them, the Hammersmith Odeon concert, from beginning to end captured in vibrant sound. This show has been revered by tape traders and bootleggers for decades and never has it been presented better, thanks to Bob Clearmountain's fantastic mix. What makes this show so historically important is that it was the first time the band was able to travel overseas to play. (They were barred from doing so in the United States because of a legal battle with Springsteen's former manager.) In any case, well in advance of the gig the notorious British music weeklies began to create a pick-and-pan hype to build and topple a potential new rock messiah as they did all the time. Or, as Springsteen in his liner notes writes, "...this week's Next...Big...Thing." The band was terrified yet geeked to play the hallowed hall. These guys were scared; it fueled the gig, and they pulled it off in spades. They have everything to prove, and plenty to stare down. (Hell, the media hype almost made them the standard-bearers for the entire history of American rock, whether they wanted to be or not — and they may not have believed it themselves, but they played like they felt the responsibility for it, overtly referencing Sam Cooke, Isaac Hayes, and even Boyce & Hart by including pieces of their tunes in Springsteen originals, showing where it all came from. And then, by using a portion of Celtic soulman Van Morrison's "Moondance" — who was taking his own bit from David "Fathead" Newman's read of his former boss Ray Charles — in "Kitty's Back," they reveal clearly that the Beatles, the Stones, and the Who were nowhere to be found on this night.) Most of all, the E Street Band had the quivering guts and naïveté to pull it off. These guys play their asses off; it's as if tomorrow they'll die, so what the hell. The tape proves this show to be adrenaline-filled and fear-drenched. This is a mind-blowing gig. It was filmed for preservation and forgotten about until being resurrected by Springsteen.
The highlights? Hell, everything here. It begins with a tenderly desperate, under-orchestrated "Thunder Road," sprints head on into a burning "Tenth Avenue Freeze Out" before whispering into a free jazz intro to a dramatic, swaggering "Spirit in the Night" that oozes street-smart Jersey soul. And the train never stops; it only slows a bit for moments at a time. And it's not for the band to catch its breath; it's for the crowd, whether it's the frighteningly intense "Lost in the Flood," the shuffling country roots rock that introduces the rollicking "She's the One," or the swaggering anthem of "Born to Run," which only take listeners through a little over half of the first disc! They had the audience after "Spirit," but they were into something deeper, wilder — check the spit and vinegar in "It's Hard to Be a Saint in the City" — so they kept pushing harder. This was a young band that musically was as good as anybody on that night. They were rehearsed, confident, and armed with a collection of songs that virtually any musician worth his or her salt would kill to have written even one of. Disc two offers no letdown. There's arguably the single most intense read of "Jungleland" on tape, and a riotously joyful version of "Rosalita" to counter the theater of darkness just visited upon the crowd in the previous song. This version of "Fourth of July, Asbury Park (Sandy)" is pure street urchin romance taken to the nth level. The E Streeters' read of the "Detroit Medley" is an homage to Mitch Ryder & the Detroit Wheels, whose scorching takes on Little Richard's "Jenny Take a Ride," "Devil with a Blue Dress," and "Good Golly Miss Molly" offer spiritual inspiration. They stay on full stun with "For You" and cap it all with "Quarter to Three," leaving the crowd to fall back into the night, wondering if they could believe what they'd just witnessed. Springsteen himself says the night was a blur to him and he never looked back for 30 years at the film or even listened to the show. While the soundtrack is only half the experience of the Hammersmith Odeon 1975 document, it's a worthy half and a necessary set to add to any Springsteen live shelf.
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| Child of the Moon |
Rosalita! Jump a little lighter!
Senorita! Come sit by my fire!
I just wanna be your love, ain't no lie!
Rosalita! You're my stone desire!
I just bought the Odeon discs today. I love this man and his band... |
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| Honky Tonk Man |
quote:
IanBillen wrote:
Why do you care so much about some bloke who whines all the time about
blue collar Americans and some of the latter day hardships in the USA?
You're from the UK right. If I were you, I'd be like who gives a rats ass...I'm
tired of hearin this dude whine.
Ian
Hello Ian.
I really don't agree with your above statement at all. I mean, just because many blue collar Americans are able to relate to his lyrics, doesn’t mean that the rest of us can't. I'll tell you something. I may only own the Essential collection, but I absolutely adore some of those tracks and I feel I CAN relate to many of the stories he tells through his music. So many of them are about raw emotion, which is a global thing that affects everyone. That's the way I view things and I think that's the truest way to sum up the guys music. Whether he’s going on about "sitting on the hood of a dodge" or "dancing in the dark", these are al themes we can relate too.
On a side note, I'd like to ad that Thunder Road is probably my ALL TIME favourite non-Stones track. It's an absolute masterpiece in lyricism.
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| Gazza |
quote:
IanBillen wrote:
He wasn't really being played on the radio with any eighties material until that point in 84. I remember The River was a success. I remember that. But we as kids didn't even know any tunes from it. It was kinda like an older dudes scene and wasn't really mainstream where I was. Bruce Springteen was with the older generation it seemed to me.
Wrong. He wasnt an artist who had a lot of success in the singles charts prior to 1984, but he was certainly a HUGE act
No radio play? "Hungry Heart"? Hello??
and what the fuck is the significance of not having a no.1 album in your argument? Youre suggesting that anything short of that is a failure? Thats retarded
I was 18 in 1981. Springsteen was HUGE in Europe at that time - including with people of MY age - and even that wasnt as big as he was in the US. (Not comparable to the hype of 1984, but pretty fuckin' big by almost anyone standards) The River tour ran from October 1980 - September 1981 and played to about 140 shows in arenas across North America and Europe. The UK tour was originally 3 dates and had to be expanded to 16 because the demand for tickets was huge. I know. I was there, proud to say (still the greatest show I've ever seen by anyone). You obviously werent because you were presumably semi-comatose from listening to vapid, soulless shite like Foreigner.
Maybe you should have hung with different friends back then. If your friends considered Van Halen "hot" it speaks volumes. (As a matter of interest were these the same people who insisted to you that the guy on the cover of "Tattoo You" WASNT Mick Jagger? If it was, theyve misled you badly more than once!)
And how many other 'unpopular' acts do you know of who could have a top 3 album in 1982 with a solo acoustic album of 4-track demos recorded in their bedroom and released with minimal hype, no singles and no tour? Pretty impressive.
[Edited by Gazza] |
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| rasputin56 |
Bruce became a touring legend in the 70's to complement his great albums. OK, maybe Darkness wasn't as great as the Saturday Night Fever Soundtrack but the ensuing tour was light years ahead of whatever show the BeeGee's would/could put on. The River (a double album and record companies didn't let just anyone put out double albums back then) also spawned many AOR instant classics like Hungry Heart, Cadillac Ranch, 2 Hearts, etc. I won't even get into the lyrical genius of the title track. Hell, even Nebraska's Alantic City video was in the heavy rotation over at the infant MTV. To say he was an afterthought prior to BITUSA is ridiculous and to give examples like MJ and Duran Duran is just plain, well, retarded's already been used so fill in the blank.
Since BITUSA? Tunnel of Love, although not as popular (what could be), is a damn good album. I didn't appreciate it as much when it came out as I do now that I'm older. HT/LT? Eh, but there's some decent stuff if you look. His renditions of some of those tunes on his most recent solo tour were incredible. GOTJ? Very good but some may not like to political messages. Too bad. The Rising? Great album. D&D? Very good for what it was. This new Seeger thing? Hey, if he needs to get this out of his system before putting something together with the E Streeters, go for it.
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| nanatod |
"Tunnel of Love, although not as popular (what could be), is a damn good album."
Tunnel is just Springsteen wallowing in the misery of his divorce from Julianne Phillips. The album is so bad, I'm surprised that U2 hasn't mined it for cover versions.
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| Saint Sway |
quote:
nanatod wrote:
The album is so bad, I'm surprised that U2 hasn't mined it for cover versions.
thats brilliant posting! |
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| Gazza |
quote:
nanatod wrote:
Tunnel is just Springsteen wallowing in the misery of his divorce from Julianne Phillips. The album is so bad, I'm surprised that U2 hasn't mined it for cover versions.
the fact that he didnt actually split up from his wife for 18 months after it was recorded and almost a year after it was released kinda defeats that synopsis somehow
Great fucking record. |
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| nanatod |
quote:
Gazza wrote:
the fact that he didnt actually split up from his wife for 18 months after it was recorded and almost a year after it was released kinda defeats that synopsis somehow
Great fucking record.
I forgot that Tunnel of Love came out before the divorce. But I recollect that at the time of the divorce, all of the rock critics like Hoekstra and McLeese kept saying that the Tunnel record was Springsteen foreshadowing his soon to become marital difficulties.
My appreciation of Springsteen was very, very, gradual. I was intially put off by Springsteen, because he was oversold to me by friends from New Jersey and New York who attended the midwestern college I did. They finally got me to like Springsteen, and I even bought the 75-85 live set with "Growing Up" and other fierce live performances. So what does Springsteen do then? Puts out Tunnel, which IMO is one of the most downer rock LP's. I don't want my rock and roll to be depressing; it must be uplifting.
I therefore stand behind the gist of my prior comment about Tunnel, even though the chronology wasn't exact. |
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| rasputin56 |
quote:
nanatod wrote:
I forgot that Tunnel of Love came out before the divorce. But I recollect that at the time of the divorce, all of the rock critics like Hoekstra and McLeese kept saying that the Tunnel record was Springsteen foreshadowing his soon to become marital difficulties.
My appreciation of Springsteen was very, very, gradual. I was intially put off by Springsteen, because he was oversold to me by friends from New Jersey and New York who attended the midwestern college I did. They finally got me to like Springsteen, and I even bought the 75-85 live set with "Growing Up" and other fierce live performances. So what does Springsteen do then? Puts out Tunnel, which IMO is one of the most downer rock LP's. I don't want my rock and roll to be depressing; it must be uplifting.
I therefore stand behind the gist of my prior comment about Tunnel, even though the chronology wasn't exact.
Born to Run? Darkness? At least half of BITUSA? You obviously weren't paying attention. Bruce has never been Mr. Shiny, Happy Optimist. As far as Tunnel goes, his writing became much more mature and dealt indepth with adult relationships. Not about cars and broads but life and what it means. Some people don't want to grow others do.
Throw out the heavily overdubbed live set and go listen to the 78 Winterland show or the 80 Nassau Show instead if you want to really get the live vibe. |
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| nanatod |
quote:
rasputin56 wrote:
Born to Run? Darkness? At least half of BITUSA? You obviously weren't paying attention. Bruce has never been Mr. Shiny, Happy Optimist. As far as Tunnel goes, his writing became much more mature and dealt indepth with adult relationships. Not about cars and broads but life and what it means. Some people don't want to grow others do.
Throw out the heavily overdubbed live set and go listen to the 78 Winterland show or the 80 Nassau Show instead if you want to really get the live vibe.
Born to Run has uptempo 10th Avenue freezeout. Darkness has optomistic Promised Land. BITUSA has uptempo Darlington County and uptempo Working on the Highway.
Maybe its not the lyrics on Tunnel, but the rhythms and the tempos that annoy the heck out of me. Does that mean that Max is more important to the records than Bruce? |
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| Break The Spell |
quote:
nanatod wrote:
Born to Run has uptempo 10th Avenue freezeout. Darkness has optomistic Promised Land. BITUSA has uptempo Darlington County and uptempo Working on the Highway.
Maybe its not the lyrics on Tunnel, but the rhythms and the tempos that annoy the heck out of me. Does that mean that Max is more important to the records than Bruce?
Thats how I feel about his 1987-92 albums, good lyrics, but I miss the musical input of the E Street Band on those albums. |
