THANK YOU, HOUSTON! 13.09.1975

La scaletta di questo concerto di Springsteen del lontano 13  settembre 1975:

01 Incident on 57th street
02 10th avenue freeze-out
03 Spirit in the night
04 Pretty Flamingo
05 Growin’ up

06 It’s hard to be a saint in the city
07 The ‘E’ street shuffle
08 She’s the one
09 Born to run
10 Thunder road
11 Kitty’s back
12 Nothing’s too good for my baby
13 Jungleland
14 Rosalita (Come out tonight)
15 4th of July, Asbury Park (Sandy)
16 Quarter to three
17 Carol
18 Lucille
19 Twist and shout


Letto su Point Blank:


¿Gira acústica de Springsteen?

27 enero, 2011
En una entrevista publicada hoy en el diario El Paísel director del Teatro Price de Madrid afirma estar negociando “un concierto acústico de Bruce Springsteen”. Aunque ni Springsteen ni sus representantes han anunciado ninguna gira ni ningún disco nuevo, se rumorea desde hace algunos meses que el artista podría hacer una gira mundial este año. ¿Volverá Springsteen para presentar un disco en solitario en teatros? Sería, sin duda, una gran noticia, aunque por el momento debemos tomarla con todas las reservas y esperar a un comunicado oficial.
foto: René Van Diemen (Madrid, Junio 2005)


Anche quest’anno Springsteen ha suonato al Light of Day 2011.

La versione originale dell’ articolo sotto riportato la trovate su Rolling Stones.

Bruce Springsteen Plays Epic Surprise Set at Charity Concert In Asbury ParkSpringsteen brought out “Thunder Road,” “Adam Raised a Cain” and “The Promised Land” over the course of 90 minutes

Taylor Hill/FilmMagic
By Andy Greene
JANUARY 16, 2011 9:00 AM EDT
Every indication pointed to “Twist and Shout” ending the evening. It was nearly 1:30 AM – seven hours into the annual Light of Day benefit concert in Asbury Park – and Joe Grushecky and surprise guest Bruce Springsteen had just wrapped up a blistering ninety-minute set. Afterwards they called all of the evening’s performers back to the stage (including Willie Nile, Garland Jeffreys, Joe D’Urso, Jesse Malin, Alejandro Escovedo and the show’s host, Vincent “Big Pussy” Pastore) for an epic, ten minute “Twist and Shout” that incorporated bits of “La Bamba” and some incoherent ramblings that Big Pussy yelled into the mic. When it wrapped people began putting on their coats to leave, but Springsteen asked his gutiar tech to bring him an acoustic guitar and harmonica. He then played a seemingly impromptu, super slowed-down “Thunder Road” that was the most beautiful rendition of the 1975 classic that I’ve ever heard. When it ended bleary-eyed Springsteen fanatics poured out onto the Asbury Park boardwalk, stunned into silence by the show they’d just witnessed.

Bruce Springsteen: The Vintage Photographs

The Light of Day shows were launched in 2000 by music industry vet Bob Benjamin to raise money to help battle Parkinson’s Disease. It was originally a one-night-a-year gig at a Jersey club, but it’s since expanded to an international tour that culminates in four days of shows in Asbury Park. Bruce Springsteen has been the “surprise” guest most every year, usually ending the show with longtime friend and collaborator Joe Grushecky. Since he’s been off the road for over a year now, Springsteen fanatics from all over the world travelled to the Paramount Theater in Asbury Park this year for the show, even though there was no guarantee he would play.

Bruce Springsteen: The Rolling Stone Covers

The concert began with solid sets by Rock and Roll Chorus, Quincy Mumford, Joe D’Urso and Garland Jeffreys. The first indication that there might be a special guest in the house came at the beginning of Jesse Malin’s set, when an extra microphone stand was set near the center of the stage. It stood there until the final song, when Malin announced that a “special friend” was going to sing with him. Springsteen walked out with an acoustic guitar, wearing a black and white plaid shirt. The audience erupted into a sea of “Bruuuuuuce’s”; every other person seemed to be filming the subsequent performance of 2007’s “Broken Radio” on their cellphones. From that moment on there was electricity in the air, because everybody knew for sure that Springsteen would eventually closet out the night with his own set.

Bruce Springsteen Artifacts From The Rock and Roll Hall of Fame’s Exhibit

New York singer-songwriter Willie Nile was up next. After playing a brief set that contained a faithful cover of “96 Tears,” he also invited out a “special friend.” Springsteen joined him on his 1991 track “Heaven Help the Lonely,” which he supplemented with some blistering guitar work. Alt-country great Alejandro Escovedo had the difficult task of performing in the slot directly before Springsteen. He made the questionable decision to not bring a full band, leaving him and another acoustic guitar player to perform for an increasingly impatient audience desperate for their Bruce fix. The biggest cheer he received was when he introduced the track “Rosalie,” because some in the audience briefly thought he was saying “Rosalita.” Springsteen did come out at the end to perform an acoustic rendition of “Always a Friend” with Escovdeo, a track they performed together on the Magic tour in 2008 and more recently at the Stone Pony.

Grushecky was next on the bill, but Springsteen kicked off the set with a rare solo acoustic version of the Magic deep cut “You’re Own Worst Enemy,” followed by the Born In The USA outtake “This Hard Land.” Both tracks are rather obscure, but the crowd sang along to every word. Grushecky and his band then came out while Springsteen strapped on an electric guitar. Springsteen has played with this band a lot over the years. They give his songs a more stripped down, garage-rock feel than the E Street Band – and it’s clear that Springsteen relishes the opportunity jam with them.

The set contained a handful of Grushecky’s own material (“Never Be Enough Time,” “Talking To The King,” “Another Thin Line”), but the bulk of it was Springsteen classics. The recent Darkness On The Edge of Town box set was definitely on his mind, because Springsteen broke out “The Promised Land,” “Save My Love,” and a positively smoking “Adam Raised a Cain” from the set. For “Pink Cadillac,” photographer Danny Clinch put down his camera and picked up a harmonica. In a funny role reversal, Springsteen grabbed a camera and took a photo of him during one of his solos.

They ended the main set with the inevitable “Light of Day,” which had more kick to it than any rendition I’ve heard since the E Street Band’s reunion tour in 1999. By this point even the die-hards were looking at their watches, but Springsteen was having way too much fun to stop – as the extra-long “Twist and Shout” and bonus “Thunder Road” proved. After the house lights turned on Springsteen remained onstage, greeting every performer and looking like he’d more than ready to keep the night going for a few more hours.

HE’S ON FIRE – SPRINGSTEEN 1985 (part 2)

Seconda parte del articolo su Springsteen tratto da un Newsweek del 1985.

On this tour, for the first time, the more somber songs have moved to the heart of the show. “Highway Patrolman” was a highlight of last year’s concerts—a lovely, heartbreaking song about a cop torn between loyalties to the law and his black-sheep brother. “The River” told the story of a working-class kid trapped in a sad marriage; “Johnny 99” was a laid-off autoworker driven to crime by insurmountable money troubles. And across America last year, the words of “My Hometown” resonated strongly at each stop: “Now Main Street’s whitewashed windows and vacant stores/Seems like there ain ‘t nobody want to come down here no more/ They’re closing down the textile mill across the tracks/Foreman says these jobs are goingboys andthey ain ‘t coming back …. “
Burners: These are grim messages, but Springsteen is too much a rocker at heart to let the sadder songs overwhelm. What makes his shows exhilarating pop events is the ease with which he shifts gears into high-energy burners like “Thunder Road” and “Cadillac Ranch” – songs that encapsulate all the fire and abandon of the rock-and-roll spirit. Springsteen seems to be everywhere at once on the concert stage: high atop a speaker bank, racing up a stairway to play to the people in the back, tearing back down to the lip of the stage. His shows are marathons, often reaching four hours in length. Says E Street guitarist Nils Lofgren, an established Columbia artist who signed on with Springsteen last year, “With Bruce you wind up treating those four hours as if someone said, ‘You’ve got four hours left on earth. What are you going to do with it?’ “

Springsteen, friends say, would rather be doing nothing else than playing rock and roll . Behind every show lies a thought that’s central to great rock-and-roll performing—the idea that only this moment matters. Not Yesterday, not tomorrow.
but now. His commitment to the moment is total,andevery show in every city bristles with passion and good
humor. Even the hokey moments are deliriously exciting—like the scene when Springsteen and sax player Clemons ( “The BigMan! The King of the World The Master of Disaster!”) square off at opposite ends of a long arena stage, mock scowling, eyes locked, each playing at full tilt—and then race toward one another to meet at center stage for an exuberant twist, twine or rumba.
Privacy: Offstage, the singer devotes his formidable drive to a more personal pursuit: keeping his private life his own business. He is surrounded by a determined cadre of loyal friends and handlers, none of whom has much enthusiasm for talking to the press, and Springsteen himself hasn’t given an interview since talking to Rolling Stone late last year. “I give my entire energy to the public,” he told his new father-in-law after marrying Julianne Phillips in May. “But this is different. Things that are private should be kept private. ” But privacy is harder than ever to come by. He is not only a bigger star than he has ever been, but a different kind of star—a political symbol, a national symbol … and, let’s face it, a sex symbol, thanks to a rigorous schedule of weight training that has chiseled him a whole new profile.
It’s not his first new look. Over the last dozen years Springsteen has worn several faces: the scowling late-Dylan of the late ’70s, the leather-clad tough of the middle decade, the earringed singer / songwriter of l974.To start with,back in his hometown of Freehold,N.J. he was a scrawny Jersey kid with an Irish father, an Italian mother and a Dutch name. A headstrong boy who chafed under discipline both at home and in parochial school, he felt everything turn when he bought a pawnshop guitar at 13. “It was one of the most beautiful sights I’d ever seen in my life,”he told rock journalist Dave Marsh. “I
had found a way to do everything I wanted to do. ” Hooking up with a local band called the Castiles, Springsteen began playing in Jersey bars. Stints in four more local groups followed before he landed an audition with Columbia executive John Hammond, who years earlier had discovered Billie Holiday and Bob Dylan. Hammond gave the young singer 15 minutes of his time. He was stunned. Springsteen signed with Columbia Records in 1972.
His first LP, “Greetings From Asbury Park, N.J.,” was done in just three weeks and showed—maybe too strongly—the influence Dylan had had on Springsteen. Wild torrents of words skittered across the record’s surface: “Madman drummers bummers and Indians in the summer with a teen-age diplomat . . . ” Springsteen sang in the album’s opening line. Nobody was quite sure what that meant. From Dylan, who had been obtuse for a decade by that time, music fans expected such. No one knew what to make of this skinny Jersey kid with the scraggly beard. The second Springsteen LP, “The Wild, the Innocent & the E Street Shuffle,” pared the verbiage back some, to better effect, and played up the jazzier side of Springsteen’s music. It also introduced characters who under one name or another would populate all the singer’s records from then on: this time out they were Spanish Johnny and Puerto Rican Jane, lonely teens fighting to keep their dreams alive in the big city.A few deejays,including Philadelphia’s Ed Sciaky, began to play the records and talk up Springsteen’s incendiary live shows. Sciaky, then with WMMR recalls with special fondness the first time he heard “Rosalita”: “I thought I’d never hear louder applause. It was like an explosion. “
Unfortunately, ecstatic reception in the clubs didn’t mean big sales in the record
stores. But Springsteen kept working the East Coast circuit and attracting a good measure of critical attention. His best notice came from a young Boston writer named Jon Landau: “I
saw rock and roll future,” he wrote in Boston’s weekly Real Paper in May 1974, after a typically exuberant show at the Harvard Square Theatre. “Its name is Bruce Springsteen.” By October 1975 the singer’s small,fiercely loyal group of fans was convinced that Springsteen couldn’t be held down much longer. They were right. The third LP,”Born to Run,”hit the street like a firecracker,a superb,passionate record that traced a whole heartbreaking day in the lives of Springsteen’s urban heroes. Although some critics dismissed the record’s dense sound and complex song cycle as bombastic, sales were brisk—finally—and the album landed in the Top 10. That’s when the national media came around. NEWSWEEK and Time featured the singer on their covers—both in the same week— initiating a chain reaction of press coverage that focused on Springsteen more as an event than a musician. Something of a backlash resulted, and according to associates the young rocker wasn’t ready. “But he learned a lot from it,” an insider says. “He learned to relax and keep focused on what’s real.”
He would need all his forbearance. A legal wrangle with Mike Appel, his manager at the time, would keep him out of the studio for almost two years, dampening his upward momentum and causing some observers to write him off. Springsteen wasn’t legally free to record again until May 1977, with Jon Landau now along as manager and coproducer. “Darkness on the Edge of Town,” released in 1978, was a grittier work than any of the earlier records—no doubt reflecting the frustrating two-year layoff—and it sounded a theme that Springsteen has continued to address: the terrible gap between expectation and reality in the American dream. Home and family emerged as the only comfort; the title tune reminded listeners how bleak the world can be beyond the safe confines of home, and what a high price it exacts from those who try to break away “Lives on the line dreams are found and lost, ” he sang, “I’ll be there on time and I’ll pay the cost/For wanting things that can only be found/In the darkness on the edge of town. “
Reacbing On subsequent records Springsteen’s America grew darkerstill. “The River,”a double LP released in 1980,boasted some of his most affecting work to date, and ended with a jolt: “Wreck on the Highway,” a somber Hank Williams sound-alike about a young man who sees his own mortality in a late-night auto crash on a deserted highway. This was deeply moving stuff, and there was more on “The River,” but on the whole the record felt bloated, overly fussed over. Springsteen seemed to be reaching toward something new. Two years later he found it: the surprising and heartfelt “Nebraska, ” a bleak collection of folk tunes recorded solo in his New Jersey home. Inspired (if that’s the right word) by the story of serial killer Charles Starkweather, it is his worst-selling LP to date, and his most powerful. “[The album] was about that American isolation,” he told Rolling Stone, “what happens to people when they’re alienated from their friends and their community and their government and their job. Those are the things that keep you sane, that give meaning to life in some fashion . And if they slip away, then anything can happen.” His Iyrics had grown stronger with each album— quicker, terser, more photographic. His live shows had continued to
attract glowing notices, not least for their skillful mingling of rave-up rockers and American Gothic. By the time “Born in the U.S.A.” was released last June, Springsteen
was ready to assume the title of The Great American Rock and Roller. But even those around him are a little surprised at the leap Springsteen has taken this year in the public consciousness. There is a sense that this latest round of frenzy is somehow beyond—a step past even the madness of last year’s American tour. “The depth and width of the attention have taken an exponential jump,” one associate said last week. “We’re only just adjusting to it now.” That means, among other things, fielding ticket requests from high-profile fans in every walk of life—even politics. New Jersey Sen. Bill Bradley will be at the Washington show; some White
House staffers, who can usually wangle admittance to any event, won’t. A rumor about a secret VIP ticket list at federally owned RFK Stadium was shot down late last week, and the denial seems credible—even Gray & Co., the Capital’s premier public- relations firm, has been forced to score tickets from scalpers.
In the band, the press of public attention means more excitement focused on the stage. “Right now you’ve got 7 or 8 million people that are fanatic fans, ” Nils Lofgren says. “Two years ago 5 or 6 million of them didn’t know who Bruce was. There’s electricity that won’t ever quite be exactly like this.” Even allowing for rock-star hyperbole, there’s truth to this. And although this may not be the time to fan the flames, there’s one more reason for people to go nuts about this summer’s Springsteen tour: he and the band have been on the road for 13 months, and according to band intimates the last show on this tour—probably in October—will be the band’s last group activity for quite some time. Springsteen won’t go the way of Prince and retire from the stage. but
Lord, the man needs rest. No one is sure when work on the next record will start. This summer tour “seems like a friendly thing to do,” says a Springsteen insider, “a way to say goodbye for a while. ” During his layoff Springsteen will ponder his next album project, although no one around him knows what shape it will take. There is talk of a live record, as there is after every tour, but it’s just talk so far. The singer’s handlers will spend their time fielding offers from people who want to cash in on his huge new fame. There’s been speculation about movie roles, especially in the wake of Springsteen’s good performances in two rock videos—”I’m on Fire” and “Glory Days”—directed by John Sayles. It’s not likely that he’ll accept an outside offer, though. If he does decide to do a movie it will probably be a project of his own devising, like Prince’s “Purple Rain. ” One thing he definitely will not do is accept any of the offers that have come in for commercial endorsements. An associate rolls his eyes toward the ceiling as he promises that Springsteen will never rewrite “Born in the U.S.A.” for a TV commercial.
Some things, after all, are too important to mess around with. Springsteen’s hard core of admirers talk about how he and his music have changed their lives. They mean it literally. Everyone has a story to tell about the decisive moment when he realized that rock and roll
means as much to the man onstage as it does to him. There’s a sense of community in that moment between artist and audience, one that other forms of expression can’t approach for power and immediacy. In that instant, as guitars thunder and hot lights blaze, Springsteen and his fans share above all a conviction that the music means something—that properly applied, rock and roll can heal broken hearts, mend shattered lives, light the way through hard times or at least ease the pain for one thrilling moment. Another rock idol, Mick Jagger, once said, ‘It’s only rock and roll,
but I like it. ” In Springsteen’s world the thought would be different. It’s rock and roll, he might say. And it matters.

HE’S ON FIRE – SPRINGSTEEN 1985 (part 1)

Articolo su Bruce Springsteen tratto da un Newsweek del 1985.

Lo ho diviso in due parti essendo molto lungo.
Buona lettura e buona settimana

America’s latest rock-and-roll hero has the fans going wild about the Boss.
It was crazy on South Wabash last week, but a Chicago cop, surveying the scruffy scene, pronounced it “good craziness.” By Wednesday about two dozen people had moved their homes onto the street, sleeping under the el tracks and washing up at McDonald’s—all on the mere rumor that Bruce Springsteen tickets might soon be available at Ticketmaster. Jim Teymer drove from Madison, Wis.—140 miles one way—to take his place on the South Wabash line. “He’s an all-American guy. ” said Tevmer. who listens
to Springsteen six hours a day, carrying tapes and headphones to work at an Oscar Mayer plant. “I believe in him so much. ” ,A t the phone company technicians were feverishly working to keep phoned-in ticket sales from clogging exchanges all over the Midwest . Illinois Bell put on-line a computer system that ‘s usually used to control phone traffic on Mother’s Day or handle calls to towns hit by tornadoes. Washington was crazy, too. A few days earlier, when tickets had gone on sale for the Aug. 5 show that will open the last leg of Springsteen’s ’84-’85 tour, phone volume more than doubled, tying up circuits from Virginia to the Boss’s home state of New Jersey. (The 52,306 tickets for RFK Stadium sold out in just over an hour and a half, faster than D.C. tickets for Prince and the Jacksons had gone.) And in New York, Ticketron sold some 236,000 Springsteen tickets in one day—shattering the old record set by the King Tut exhibit. In the long ticket lines, fans reached new heights in creativity. One bagged the limit—eight tickets at $17.50 apiece—and then sneaked back again in disguise. “One of our ticket sellers caught him,” a weary Ticketron official said. “She told him, ‘You changed all your clothes, you changed your wig, but you forgot to change your earring’.” No sale.

Pass Even in the rock-and-roll business, this represents serious insanity. What’s going on? At 35, 10 years after “Born to Run” and 13 months after starting his latest tour, Bruce Springsteen has become a kind of American archetype. He is rock and roll’s Gary Cooper— a simple man who expresses strong beliefs with passion and unquestioned sincerity. He is rock and roll’s Jimmy Cagney as well—streetwise and fiery, a galvanic mixture of body and soul. Hands down the best performer in pop, Springsteen always gives honest value for the fans’ entertainment dollars. And in this summer of mindless Rambomania, the values championed in his songs offer an alternate vision of resurgent American patriotism. Deep affection for home
and family informs almost every line, and above all there is a message of faith in hard times—a conviction that although small towns may crumble and factories rust, hope must never die. “Born in the U.S.A.,”Springsteen’s seventh album,is the strongeststatement yet of what amounts to his rock-and-roll world view. It’s also a huge seller, at 7. 5 million copies sold in America the biggest in the history of Columbia Records, still in the Top 10 after more than a year.
Outside the UnitedStates the record has sold 5 millioncopies in 20 countries, and
was the number-one album in Britain, West Germany and the Netherlands last week. Springsteen’s overseas tour this year confirmed his position as an international symbol of America. In Australia, Japan (“Kyoto,” a Springsteen associate says wonderingly. “What a response! We felt like we were in New Jersey.”) and Europe, kids waved American flags and chanted along with “Born in the U.S.A.” “He represents the dynamism of the United States,” says Christiane Schaeler of radio-station 95.2 in Paris. Besides, “The problems of city life and the working class are the same everywhere,” Scottish music student Michael Hutson said at a sold-out Springsteen concert at Newcastle. And as European audiences cheered, something curious happened at home: Springsteen stepped over the line in the American mind. He went over there a rock star. He’s comingback a symbol.
Despair: Springsteen’s status as an icon, though, isn’t as simple as it seems. It is based largely on “Born in the U.S.A.,” a song that younger audiences (and older ones with short memories) tend to take as an exultant anthem for Reagan-era America in fact it is about a vet whose life was irreversibly scarred by Vietnam. The powerfuI refrain, which Springsteen rasps out in a voice of pure pain, is more about promises broken than promises kept. And although his songs are ultimately hopeful, they are studded with powerful images of despair. The pictures stick in the mind: a drifter speeds down an empty highway past the refinery towers, nowhere to go on a steamy summer night and nothing to do but drive. A kid from a mill town gazes longingly up at a mansion on a hill. A highway patrolman, lonely and confused, watches the taillights disappear as his criminal brother escapes into Canada. These are pictures of an America gone wrong.
Springsteen himself seems uneasy about wearing the mantle of American Archetype. Friends describe him as a genuinely humble man, far removed from the excesses ofthe rock- star life. ”That’s really the real him,” says Clarence Clemons saxophonist in Springsteen’s E Street Band and a longtime friend. “Hecaresforevery person in theaudience.” Besidesbeingdecent, he seems to be canny enough to sense that rock and rollers just don’t make very good archetypes—being an icon of any sort is the furthest remove, spiritually, from the idea of rebellion that lies at rock’s heart. Besides, it’s heavy lifting being a symbol, and the cost is high. Look what it did to Elvis Presley. The lessons of Presley’s lonely life and sad death weren’t lost on Springsteen, who once scaled the walls of Graceland in an attempt to meet the King. Earlier this year he released a reworked Chuck Berry song, “Johnny Bye Bye,” an elegy for Presley: “They found him slumped up against the drain / With a whole lot of trouble running through his veins …. “
“That’s one of the things that has shortened life spans, physically and creatively, of some of the best rockand-roll musicians—that cruel
isolation,” he- told Rolling Stone last year. “If the price of fame is that you have to be isolated from the people you write for, then that’s too f—— high a price to pay.” So Springsteen still mingles with the public whenever he can. Amazingly, fans tend to respect his privacy. Two nights before his wedding in May, he went out and shot pool with his future in-laws at an Oregon bar. And last week as ticket madness raged through half of America, he dined out in midtown
Manhattan with a few close friends. “He tries to
control his own life,” says an old friend. “He’s not interested in being an isolated person.” If Springsteen is reluctant to stand as a cultural symbol, he is even more leery about
politics. He has no strong attachment to any party, and his own politics might be described as populist. He probably wouldn’t have even acknowledged the 1984 presidential race if President Reagan hadn’t made a clumsy attempt to claim the rocker for his own at a September campaign stop. “America’s future rests in a thou- sand dreams,” the president told a whistle-stop crowd in—where else?—New Jersey. “It rests in the message of hope in thesongs of a man so many young Americans ad- mire—New Jersey’s own Bruce Springsteen.” An associate describes Springsteen as “astounded” by the incident. In October he told Rolling Stone: “You see the Reagan re-election ads on TV—you know: ‘It’s morning in America.’ And you say, ‘Well, it’s not morning in Pittsburgh . It’s not morning above 125th Street in New York. It’s midnight, and Iike.there’s a bad moon risin’.”
So the singer jabbed back, in his own fashion. In Pittsburgh, his first stop after the Reagan remark, he dedicated a song to an activist United Steelworkers’ local . In Tacoma, he dedicated a song to a local environmental organization and urged the audience to look into the group. He made pleas from the stage for local food banks in Atlanta Denver, Oakland and Los Angeles—and kicked in a series of $10,000 personal checks besides. He also delivered a few pointed remarks along the way. “This is a song about blind faith,” he told a Tacoma audience. “Like when the president talks about arms control. “
But that, intimates say, was only because Springsteen felt painted into a corner by the Reagan remark. Such direct volleys are rare. He is a musician first and last, his messages are in the music, and global concerns don’t often intrude. Most often it’s the small. personaltragedies that count in his world: lost jobs, shattered families, the high cost of broken dreams.


Ulteriore aggiornamento della mia lista dei CD bootleg di Springsteen:


04.05.1970 Torn and prayed
18.01.1971 Still Mill – Right to fuck on
14.05.1971 Dr Zoom and the sonic boom
09.01.1973 Bound for glory
02.03.1973 Berkeley Community Theater – Ed Sciaky Archives
17.11.1973 Walking the dog
06.01.1974 Joe’s place – Uber vol 21
27.01.1974 You mean so much to me
03.03.1974 NYC serenate
09.03.1974 The lost radio show
24.04.1974 Small town boy
09.04.1974 Radio waves
03.06.1974 Played
13.07.1974 No money down
14.08.1970 7th Marshal Street parking deck Richmond
11.10.1974 Jungleland MD
29.10.1974 Walking tall vol 2


05.02.1975 Main Point nght
20.07.1975 Palace Theatre Providence – Lampinski
14.08.1975 Live at bottom line
15.08.1975 Where the punk meets the godfther
15.09.1975 Thank you Houston
29.09.1975 Iowa – Ed Sciaky Archives
02.10.1975 Before the bomb scare
11.10.1975 The homecoming – Red Bank
28.12.1975 Sha La La…
28.12.1975 Tower Theatre – Ed Sciaky Archives
30.12.1975 Tower Theatre – Ed Sciaky Archives
31.12.1975 Tower Theatre – Ed Sciaky Archives
31.12.1975 Last tango in Philly
31.12.1975 Philadelphia – Uber vol 33


04.04.1976 Rise like the rain
04.11.1976 We gotta get out of this place


13.02.1977 Toronto
15.02.1977 Masonic temple
07.07.1977 Hands towards the sky


01.07.1978 Berkeley – California
07.07.1978 Roxy Night
04.08.1978 Oh boy
09.08.1978 Summertime Bruce – Live at Agorà
09.08.1978 Agorà night
21.08.1978 Big time rock & roll
22.08.1978 Good rocking tonight
23.08.1978 High school confidential
01.09.1978 Darkness at the heartbreak hotel
05.09.1978 Columbus
12.09.1978 Dusty road
19.09.1978 Piece de Resistance
19.09.1978 The way it was
21.09.1978 The bosses birthday party
29.09.1978 The Alabama slammer
27.10.1978 Home of the 76ers
15.12.1978 Live in the promised land
15.12.1978 Walking in a Springsteen wonderland
19.12.1978 Paramount night
19.12.1978 Paramount night – Pat Lee
20.12.1978 This is for crazies


21.09.1979 The complete Muse shows


28.08.1980 Scattered like dyr leaves
27.10.1980 The mob from Freehold
27.11.1980 Look over the River
11.12.1980 Passing through Providence
31.12.1980 Nassau night


14.04.1981 German tour
18.04.1981 Blinded by the light of Montmart
03.05.1981 A long walk from boardwalk
07.05.1981 Follow that dream
07.06.1981 For those who were that night
09.07.1981 From row center
15.07.1981 Spectrum night
20.08.1981 A night for vietnam veterans
24.08.1981 Scenery in another play


19.08.1983 Brighton bar


12.07.1984 Alpine Valley
26.07.1984 Live in Toronto – brucetree n.1
11.08.1984 My hometown
22.09.1984 Where the rivers meet
08.11.1984 Happy the rest of your life
19.11.1984 Kansas city night


24.01.1985 Born in Providence
09.06.1985 Ullevi stadium
21.06.1985 San Siro Marathon
21.06.1985 Now we begin
29.06.1985 Parc de la Courneuve
29.06.1985 Breathless in Paris – Uber vol 17
30.06.1985 Last night in Paris
04.07.1985 Indipendence night
07.07.1985 A promise of life – Leeds
09.08.1985 A night at the soldierfields
01.09.1985 Sunday night special
02.10.1985 Grande Finale


13.10.1986 Mountain View


02.04.2988 Nassau
23.04.1988 Singing to Roy Orbison
03.05.1988 Roses and broken hearts
10.05.1988 Bloomington night
11.06.1988 Have love with travel
15.06.1988 Flaminio first night
14.07.1988 Restless hearts
25.07.1988 Wonderful love in Copenhagen


16.11.1990 Christic Night
16.11.1990 Christic Night(alternative version)
16.11.1990 American Dream
17.11.1990 Christic Night


17.06.1992 Living proof
21.06.1992 Italian shoes
04.07.1992 4th of July in Barcelona
10.07.1992 Wembley night


25.05.1993 It’s all right Roma
28.05.1993 The lost TV special – Uber vol 27
24.06.1993 Meadownlands night


05.04.1995 Sony studios


19.04.1996 Solo acoustic Berlino
24.04.1996 Brixton night
26.06.1996 Live in New Orleans
29.09.1996 Usa blues vol 2
08.11.1996 Freehold
26.11.1996 Asbury park night


31.01.1997 Tokyo Night
21.05.1997 Welcome to the new order – Firenze


31.01.1998 Blood on blood


09.04.1999 Barcelona 1st night
11.04.1999 Barcelona 2nd night
20.04.1999 Milano
05.06.1999 Lift me up
11.06.1999 Genova
26.06.1999 Copenhagen
27.06.1999 Oslo final show
20.09.1999 Philly night
25.09.1999 Backstreets of Philadelphia
23.10.1999 The Prodigal son in the city of LA


08.05.2000 Hartford – Uber vol 4
03.06.2000 Between dreams & actions – EV2
04.06.2000 Time to premiere
15.06.2000 NYC
15.06.2000 I’ll show you some controversy – Uber vol 37
17.06.2000 Saturday night
01.07.2000 Legendary night
01.07.2000 The promised delivered
01.07.2000 A good night for a ride – Uber vol 38
17.12.2000 Holidays show – Uber vol 9


04.12.2001 Jingle boss rock
07.12.2001 Jingle bell night


30.07.2002 Asbury Park
05.08.2002 Continental arena – East Rutherford NJ
07.08.2002 East Rutherford
10.08.2002 MCI Center – Washington DC
12.08.2002 Madison Square Garden NY
18.10.2002 Bologna
18.10.2002 Stand on it Bologna
22.10.2002 Rotterdam


19.02.2003 The double take
07.03.2003 Atlantic City
20.03.2003 Stand before your fiery light
19.04.2003 Montreal – Uber vol 36
08.05.2003 Rotterdam
10.05.2003 Ludwigshafen
12.05.2003 Brussels
15.05.2003 Gjion
17.05.2003 Barcelona
24.05.2003 Paris – Stade de France
27.05.2003 Night after night
29.05.2003 Manchester
06.05.2003 Rotterdam
19.05.2003 Madrid
31.05.2003 Dublino
31.05.2003 The longest night of The Rising tour
08.06.2003 Florence night to rock
08.06.2003 Kitty’s back in Florence
10.06.2003 Monaco
12.06.2003 Live in Hamburg
14.06.2003 Rotterdam
16.06.2003 Helsinki – first night
17.06.2003 Helsinki – second night
21.06.2003 Goteborg – first night
22.06.2003 Gotebrog – second night
25.06.2003 Vienna
28.06.2003 San Siro night
28.06.2003 Milano – VCD
28.06.2003 Bruce, Bruce, Bruce live in Milano
28.06.2003 Chiudi quell’ ombrello
15.07.2003 Giants stadium first night
21.07.2003 Giants Stadium
24.07.2003 Meadownlands night
08.08.2003 Philadelphia,PA
09.08.2003 Philadelphia,PA
11.08.2003 Philadelphia,PA
30.08.2003 Giants stadium – 9 night
27.09.2003 Milwaukee
04.10.2003 New York – The last dance
08.12.2003 X-Mas soul night


01.04.2004 First night for change
23.04.2004 Phantom night in Orlando
02.10.2004 Second night for change
02.10.2004 People have the power
08.10.2008 Orlando
13.10.2004 The last of the swingers
06.11.2004 Light of days
02.12.2004 Flood aid 2004 – soundtrack
19.12.2004 Late show at Harry roadhouse – Uber vol 31


10.04.2005 Half day of school – Uber vol 44
22.04.2005 Asbury Park
25.04.2005 Fox theatre – Detroit
05.05.2005 T-silent
15.05.2005 Cleveland
19.05.2005 East Rutherford
24.05.2005 Dublin
24.05.2005 The Point Night
27.05.2005 Royal Albert Hall – 1st night
04.06.2005 Bologna (versione Corvonero)
04.06.2005 Bologna Blood and stone vol 1
04.06.2005 The powerful thing
06.06.2005 Roma When in Rome vol IV
06.06.2005 Roma – Godfather record
07.06.2005 Milano vol 2 Mud and bone
07.06.2005 Dream Milano Dream
07.06.2005 A windy night in Milano (Jill version)
13.06.2005 Olympiahalle Monaco
16.06.2005 Dusseldorf
20.06.2005 Parigi – Bercy
22.06.2005 Copenhagen
23.06.2005 Goteborg
25.06.2006 Stockholm
28.06.2005 Berlino
16.07.2005 Albany
18.07.2005 Buffalo
01.08.2005 US Bank arena – Uber vol 30
03.08.2005 Grand Rapids
13.10.2005 United Center – Chicago
30.10.2005 Boston 2nd night
08.11.2005 Philadelhia
08.11.2005 The Philadelphia devil
09.11.2005 The Philadelphia devil
21.11.2005 Trenton 1st night
22.11.2005 Trenton 2nd night


09.05.2006 Hammersmith
12.05.2006 Milano
17.05.2006 Frankfurt
22.06.2006 American land
04.10.2006 Villa Manin
05.10.2006 Verona
21.10.2006 Valencia
18.22.2006 Dublino 2nd night
21.11.2006 Belfast


19.11.2007 Boston magic night
28.11.2007 Milano – Fox Capaldi
01.12.2007 Arnhem
02.12.2007 Mannheim – Godfather


22.04.2008 We swore we’d live forever
22.04.2008 Phantom night for Danny in Tampa
07.05.2008 Count Basie Theatre
23.05.2008 So I owe someone a beer now
25.05.2008 Dublino
21.06.2008 Amburgo
25.06.2008 Milano – Edomedo
11.07.2008 Christmas in July
19.07.2008 Earthquake in Barcelona
19.07.2008 Barcelona 1st night
20.07.2008 Barcelona 2nd night
20.07.2008 Barcelona Magic Night
31.07.2008 Giants Stadium 3rd night
24.08.2008 Kansas City
30.08.2008 Harley in heat


15.04.2009 Los Angeles first night
16.04.2009 California dream – EV2
04.06.2009 Bora in Stockholm – lucabastiano
05.06.2009 Bound for glory in Stockholm – lucabastiano
05.07.2009 Another carnival by the Danube
19.07.2009 Late night special – The Godfather
21.07.2009 Torino – zuma
23.07.2009 Udine – Bruga
19.10.2009 All shook up
08.11.2009 Into the river we dive
22.11.2009 The Big Man’s last dance


– I need a little more piano
– Highlights from Rising tour
– New York Tracks 15.06.00 – 01.07.2000
– Was and roses
– Live at Greasy Lake 1973-1999
– The ghost of Nebraska
– Forever young
– Bruce Springsteen & the E Street band highlights
– Deep down in the vaults
– The rising highlights
– Live 1975-1988
– Fistfull of dollars
– 25 years down the Thunder Road
– The missing years
– Promises and lies:confesion on the backstreets
– Killer in sun
– USA blues vol I
– Is a Dream a Lie?
– This hard land 1982-1984
– The sound of the Sixties
– A hanful of dust vol I & II
– Tunnel of love – live 2005
– Nebraska – live 2005 – Greetings from Asbury Park – SPL 1
– The wild, the innocent & the E-street shuffle – SPL 2
– Born to run live – SPL 3
– Darkness on the edge of town – SPL 4
– The River – SPL 5
– Santa Boss is coming to town – SPL 6
– Nebraska Live – SPL 7
– Born in the USA – SPL 8
– I wanna get lost in the rock and roll – SPL 9
– All those nights vol II  2005
– Definitive version of classic live -GL vol 2
– Classic outtakes and studio tracks – GL vol 3
– The definitive acoustic collection 1970-1997
– Prodigal son
– The price of doing business
– How Nebraska was born
– Early years revisited – Uber vol 29
– Born with nothin’ in hands
– The Ghost
– Swing that thing
– The keys to my success
– The unplanned gig
– Flynn compilation 2007
– You better not touch vol 2 2005
– From small things 1998
– American madness 1978
– Meeting in the town tonight 1999/2000
– Angels before dust 1996/2003
– New York City Serenade – compilation
– Essential Giants Stadium 2008
– Giants Stadium – compilation 2009
– The wish
– The Early Uber collection – vol 21,22 , 26