I don't think that's true at all, the arrangements may be the same, but the same songs on different nights can take you to completely different places depending on how well things click in the band, crowd reaction, weather, how well Bruce is feeling etc.
Dave Marsh's Rolling Stone article from around the time of the '78 Roxy show mentions how the band were listening to recordings made at the previous show (at the LA Forum) for a potential live album. Seems like a lot of the '78 tour was recorded on multitrack in anticipation of some sort of live project.
Sure, yes to a point. The vibe and energy is different and all that. But they play the stuff in the same way. That's why I need a setlist that's not standard 1A like the Helsingfors show.
Agree on Born in The USA; it sounds like someone has given a toddler an acoustic guitar in open G, or drop D, tuning and said see what you can do. I also dislike Worlds Apart. Lonesome Day is ok, although it's only an average song at best, but I do think The Rising and Into The Fire are great on this release.
Nothing personal, but Patti's vocals are like nails down a chalkboard to me. I just don't like the sound of her voice; that 'breathy' style of singing. The Open All Night thing does literally make me want to rip the CD from the player and smash it into a thousand pieces; it is truly, truly, awful. I also dislike the pretentiousness she brings, like the silly hand gestures on the (totally unnecessary) intro to Into The Fire. It's clear her influence, as stated above, is of the non-musical variety.
Yes. She struts around the stage with a smug look on her face. She has nothing to be smug about IMO. I like the ESB much better when she’s not there.
I've always hated the electric version of the song, and tolerated the various acoustic versions. However, the one version that knocked my socks off, and which I think is closer to the original intent of the song, is one that he is doing on Broadway right now. He could never play it that way in concert because it would require far too much patience from a concert audience. It starts with a long (magnificent) guitar intro, and then is largely a cappella, with long---by concert standards---silences between the lines. It is the first and only time that the song has completely blown me away.
Did the other thread get shut down so the Springsteen etc bashing is here now? Not sure what Yoko Ono videos have to do with Springsteen archive releases.
Then may I suggest you follow the discussion? There was a discussion about Patti's contribution to the Helsinki gig, as it wasn't all favourable it led to a discussion about the worst wives in bands; hence Yoko Ono. Whether you see this as 'bashing' rather than 'critical evaluation' will depend on your own perspective. Personally, I enjoy reading different points of view.
I'll check it out whenever the Netflix special airs, but what you're describing sounds more like beat poetry than great musical songwriting. Musically there's very little there without that synth part, love it or hate it. It's always so weird to me that he had such a hit with a song that sounds like he wrote it in under 5 minutes.
