@klavallee I see the horns as a plus wherever he decided to add them, but don't like them in Johnny 99. The horns carry a bit of relief, and Johnny doesn't demand it. Maybe it's similar with Adam or any other song which is defined as an angry song.
I'll never understand the use of the horns on Adam! And acoustic BTR. From listening to this on ESR that seems to be on repeat. The sound quality is outstanding.
Two hours ago I wanted to nomenate this Across The Borderline as the most delicate Bruce slow danceing song (despite it not even being his song 🙄), and you guys just had to bring Tougher into the game...
I listened to this "Light of Day" and the 27/6/00 version back-to-back and found myself wishing these two shows were released in reverse. Only because I feel something could be said about the 28/4/88 performance being a light at the end of the tunnel, whereas 27/6/00 is celebrating the escape out of the chasm (or something similar) that was waiting for them on the other side in 1988.
I have played the Chimes of Freedom version of "Tougher" at least a million times since I bought it on a mini-cd single at Aarons records on Highland, in the Summer of 1988. That version says 27th of April as it's recording date....It's actually the 28th, which we now have here minus a few overdubs. It's gobsmackingly good.
@Jerseyfornia There was a different version here in Australia which I bought on vinyl. It was actually called Tougher Than The Rest, and was effectively a 'maxi single' for Tougher. It featured the studio and live versions of TTTR on one side, with the live takes of Be True and Born To Run on the other side.
Later on, we also had a Spare Parts maxi single. This included both studio and live takes of Spare Parts on the A Side. The B Side was where we finally got the live Chimes Of Freedom ( along with, bizarrely, the studio cut of Pink Cadillac that originally appeared on the DITD single).
Many years later I found the Chimes Of Freedom EP on CD in a second hand record store. ( We possibly had that released back in the 80's also, and either I never saw it or maybe having already picked up all 4 tracks on the other releases I just didn't bother getting it back then).
I mean, there are other tours, each one with qualities that shine through....But in 88, Bruce was THE VOICE. His vocals at the peak, and this specific undertone, dark, lusty, edgy, sexy.... Jezus... (Louisa swoons)
Ok, so just about every weekend after I've published my review, I'll be listening to the show and a specific moment in a random song will stick out, leading me to say "ah I didn't notice that on Friday/Saturday. That would have been worth mentioning in the write-up!". On a walk just there it happened again, this time during "Born to Run", and for the first time (I think?) I've decided to make a hefty edit and add this thought. And rather than making you all go back to the blog and seek it out, here it is, bolded along with the rest of the paragraph - I might have built this up too much, so no pressure, Kieran!:
Bridging us from the main set into the encores is "Born to Run" in its 1988 acoustic format, the performance that exemplifies how this isn't your usual Bruce Springsteen and the E Street Band world tour. It's important to note that the introductory monologue for the song is attached to the end of "Light of Day", and it's a typically lovely speech from Bruce, talking about the romantic idea of two people running and never coming back and saying how he felt "I've put all these people in the cars, now I need to give them some place to go." It leads into a performance that is a little more relaxed than April 23rd - I wonder if that has something to do with Roy Orbison not watching from the crowd? - but not one without purpose, we just need to hear him sing "everybody's out on the run tonight" (3:06) to realise that. Springsteen also talks about connection in his intro, something he's always been searching for and possibly the reason he's in Los Angeles tonight, so I love the genuine connection of artist and audience from 4:06 with the "woah-oh-ohs". What's most interesting to me here, though, is the way Bruce substitutes "the" for "this" when singing "together we could live with this sadness, I'll love you with all the madness". In a show notable for highlighting the masks we wear and stripping away the façades that shield us, to me this particular moment feels like Springsteen is proposing an offer; an offer to simply get on with their relationship, as broken as it is, and he'll try his best to maintain that brilliant, loving disguise, with the hope that someday that love will be genuine and they'll "get to that place." As always, this "Born to Run" delivers, adding another layer to this fascinating tour.
Listening to the show all the way through for the first time right now, and I got to say that every single time I listen to a 1988 show I get shook by 'All That Heaven Will Allow'. Always an highlight, always a great performance (with or without the story) and a tremendous pop song! I can't understand for the life of me why Bruce hasn't played it with the E Street Band in 33 years. That should be illegal, for sure!
I think we need to start having a "word of the month" with these releases so moments like Bruce saying "bedside" at the start of "You Can Look" can properly be appreciated 😁
@Mario Brega Those are interjections, aren't they? We should have a separate category for not verbal euphoric moments. His screams and sighs, deep breaths and exhales... 😊
Never liked that Rendezvous intro... like a drunken man struggling at sex... 😋
Staggered by "Adam Raised a Cain". All of it, honestly. As mentioned there's something about the comparisons to April 23 that makes me really love this. The fact they released it, it makes me happy and excited that they're willing to 'risk' backlash from certain negative sections of the fandom. If they have many more Tunnel shows, there's all the more chance now that they'll all be released. This show eases any fears that they're "all the same" just because the setlist is.
It's daft to say in April, I know, but listening to the last three releases I've been thinking about my eventual "top 10 of 2021" list a lot. Compared to the first couple of releases in 2020 I've felt there are fewer obvious contenders in comparison. So I love how "Across the Borderline" immediately soared to current favourite, and it's great knowing it can get overleaped at any point in the next eight months.
The somber 88 BTRs can not fail to stop you in your tracks. They evoke totally diametral emotions, I don't recall any other song making me either so exhilarated, or feeling such pain.
This Cover Me is tremendous also. Not a song I'd rank in the upper echelons of my personal Bruce list, but the TOL tour versions are easily it's live peak IMO and this could be the best one so far.
@Bosstralian I have always liked 'Cover Me', although I get why people don't think much of it. But the power of the '88 versions is undeniable, and I'm with you here: this may be the greatest version I have listened to so far!
Another TOL tour release, and again I go through the same routine.
Me on seeing the Nugs announcement: "Hmmm, do I really need another release with all these same songs?"
Me halfway through Adam Raised A Cain: "Hell to the yes, I had no idea how much I needed this".
While the setlists overall from show to show are somewhat static, I don't think there is another tour where there are as many nuances in performance (vocally and musically) between versions of the same songs as on the TOL tour. Unique guitar runs, unique organ parts, different vocal style or emphasis... I'm only up to All That Heaven will allow, but every song so far differs somehow or somewhere from previous releases. Not only does it make owning each of these worthwhile, it makes it essential IMO.
This was the first time in maybe over a year where I was truly excited to listen to an Archive. It was clear that "Across the Borderline" wasn't going to be the only great thing about this release - BruceCorp. don't work like that anyway - I've had a helluva night relaxing, listening and writing.
I'm also revisiting the 16/11/90 version of "Borderline" now, I don't go back to it often.
I went straight to Across The Borderline. Saving the show in its entirety for after work tonight. Should be a cozy fireside listen. When I get to Born To Run, I'll toast Adam.
I was there at the tender age of 19 years old....way up in the rafters with my cousin Debbie for my 5th show of the run. I had to go to all 5. We were by the side of the stage in the 25th row of the upper section, a great show to end the run. The guy who played Ratner in Fast Times at Ridgemont High was up there with us, we joked before the show. I could relate to that guy in the movie. It made sense he would be there for this dark ride...I was transfixed by the show unlike the others, maybe due to it being the last. I remember being so moved by the Born to Run story and performance I didnt remember the words to Hungry Heart and had to sit down and reflect.
'She's The One' is soooo good on this one! Danny's organ is absolutely killing it and the guitars are so strong! Wow.
I haven't read this whole thread, but does Bruce loss track of the words during Sweet Soul Music?
I can't help but dance to this Raise Your Hand. I've boogied to it so many times I've got a halfassed choreography figured out.
You better believe it!
Like I've said 100 times, I love the horns but not on Adam and or Roulette
I'll never understand the use of the horns on Adam! And acoustic BTR. From listening to this on ESR that seems to be on repeat. The sound quality is outstanding.
Two hours ago I wanted to nomenate this Across The Borderline as the most delicate Bruce slow danceing song (despite it not even being his song 🙄), and you guys just had to bring Tougher into the game...
I listened to this "Light of Day" and the 27/6/00 version back-to-back and found myself wishing these two shows were released in reverse. Only because I feel something could be said about the 28/4/88 performance being a light at the end of the tunnel, whereas 27/6/00 is celebrating the escape out of the chasm (or something similar) that was waiting for them on the other side in 1988.
I have played the Chimes of Freedom version of "Tougher" at least a million times since I bought it on a mini-cd single at Aarons records on Highland, in the Summer of 1988. That version says 27th of April as it's recording date....It's actually the 28th, which we now have here minus a few overdubs. It's gobsmackingly good.
I mean, there are other tours, each one with qualities that shine through....But in 88, Bruce was THE VOICE. His vocals at the peak, and this specific undertone, dark, lusty, edgy, sexy.... Jezus... (Louisa swoons)
Ok, so just about every weekend after I've published my review, I'll be listening to the show and a specific moment in a random song will stick out, leading me to say "ah I didn't notice that on Friday/Saturday. That would have been worth mentioning in the write-up!". On a walk just there it happened again, this time during "Born to Run", and for the first time (I think?) I've decided to make a hefty edit and add this thought. And rather than making you all go back to the blog and seek it out, here it is, bolded along with the rest of the paragraph - I might have built this up too much, so no pressure, Kieran!:
Bridging us from the main set into the encores is "Born to Run" in its 1988 acoustic format, the performance that exemplifies how this isn't your usual Bruce Springsteen and the E Street Band world tour. It's important to note that the introductory monologue for the song is attached to the end of "Light of Day", and it's a typically lovely speech from Bruce, talking about the romantic idea of two people running and never coming back and saying how he felt "I've put all these people in the cars, now I need to give them some place to go." It leads into a performance that is a little more relaxed than April 23rd - I wonder if that has something to do with Roy Orbison not watching from the crowd? - but not one without purpose, we just need to hear him sing "everybody's out on the run tonight" (3:06) to realise that. Springsteen also talks about connection in his intro, something he's always been searching for and possibly the reason he's in Los Angeles tonight, so I love the genuine connection of artist and audience from 4:06 with the "woah-oh-ohs". What's most interesting to me here, though, is the way Bruce substitutes "the" for "this" when singing "together we could live with this sadness, I'll love you with all the madness". In a show notable for highlighting the masks we wear and stripping away the façades that shield us, to me this particular moment feels like Springsteen is proposing an offer; an offer to simply get on with their relationship, as broken as it is, and he'll try his best to maintain that brilliant, loving disguise, with the hope that someday that love will be genuine and they'll "get to that place." As always, this "Born to Run" delivers, adding another layer to this fascinating tour.
Listening to the show all the way through for the first time right now, and I got to say that every single time I listen to a 1988 show I get shook by 'All That Heaven Will Allow'. Always an highlight, always a great performance (with or without the story) and a tremendous pop song! I can't understand for the life of me why Bruce hasn't played it with the E Street Band in 33 years. That should be illegal, for sure!
As I get older I do the "count-back" thing.
i.e count back to the event, then count the same amount beyond the event.
TOL Wembley 88 will be 33 years ago this summer.
33 years prior to that was summer 1955.
1955 seems like ancient history....... Wembley 88 seems a recent thing.
Scary.
I think we need to start having a "word of the month" with these releases so moments like Bruce saying "bedside" at the start of "You Can Look" can properly be appreciated 😁
Staggered by "Adam Raised a Cain". All of it, honestly. As mentioned there's something about the comparisons to April 23 that makes me really love this. The fact they released it, it makes me happy and excited that they're willing to 'risk' backlash from certain negative sections of the fandom. If they have many more Tunnel shows, there's all the more chance now that they'll all be released. This show eases any fears that they're "all the same" just because the setlist is.
It's daft to say in April, I know, but listening to the last three releases I've been thinking about my eventual "top 10 of 2021" list a lot. Compared to the first couple of releases in 2020 I've felt there are fewer obvious contenders in comparison. So I love how "Across the Borderline" immediately soared to current favourite, and it's great knowing it can get overleaped at any point in the next eight months.
The somber 88 BTRs can not fail to stop you in your tracks. They evoke totally diametral emotions, I don't recall any other song making me either so exhilarated, or feeling such pain.
This Cover Me is tremendous also. Not a song I'd rank in the upper echelons of my personal Bruce list, but the TOL tour versions are easily it's live peak IMO and this could be the best one so far.
Greatest Roulette of all time.
Another TOL tour release, and again I go through the same routine.
Me on seeing the Nugs announcement: "Hmmm, do I really need another release with all these same songs?"
Me halfway through Adam Raised A Cain: "Hell to the yes, I had no idea how much I needed this".
While the setlists overall from show to show are somewhat static, I don't think there is another tour where there are as many nuances in performance (vocally and musically) between versions of the same songs as on the TOL tour. Unique guitar runs, unique organ parts, different vocal style or emphasis... I'm only up to All That Heaven will allow, but every song so far differs somehow or somewhere from previous releases. Not only does it make owning each of these worthwhile, it makes it essential IMO.
The instrumental outro of Across The Borderline is so beautiful..
Springsteen's only power over me has always been that he can make me cry when I didn't know I needed to. That's one hell of a Born To Run.
I went straight to Across The Borderline. Saving the show in its entirety for after work tonight. Should be a cozy fireside listen. When I get to Born To Run, I'll toast Adam.
Excited to hear and write about this one.
"I wish with all my heart, you find a safe way home..." After 33 years I made it with your help Bossman.
Yes! I'm so happy with this one.
I was there at the tender age of 19 years old....way up in the rafters with my cousin Debbie for my 5th show of the run. I had to go to all 5. We were by the side of the stage in the 25th row of the upper section, a great show to end the run. The guy who played Ratner in Fast Times at Ridgemont High was up there with us, we joked before the show. I could relate to that guy in the movie. It made sense he would be there for this dark ride...I was transfixed by the show unlike the others, maybe due to it being the last. I remember being so moved by the Born to Run story and performance I didnt remember the words to Hungry Heart and had to sit down and reflect.
Were you at this one, @Buddhabone?
I'm excited for Across The Borderline.