RADIO WAVES 1973-1974

Bootleg audio che raccoglie 10 canzoni di Springsteen eseguite fra il 1973 e il 1974 e trasmesse per radio.

La scaletta:

  1. Intervista
  2. Satin Doll
  3. Does this bus stop at 82nd Street?
  4. Growin’up
  5. Wild Billy Circus Story
  6. Sandy
  7. Rosalita
  8. Something You Got
  9. New York City Serenade
  10. Mary Queen of Arkansas 
  11. You Mean So Much To Me
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WALKING TALL VOL 2 EV2 29.10.1974

Bootleg che testimonia il concerto di Springsteen e la E-street band a Boston il 29 ottobre 1974.

01 Incident on 57th street
02 Spirit in the night
03 Does this bus stop at 82nd street?
04 The ‘E’ street shuffle
05 Cupid
06 It’s hard to be a saint in the city
07 Jungleland
08 She’s the one
09 Kitty’s back
10 New York City serenade
11 Rosalita (Come out tonight)
12 4th of July, Asbury Park (Sandy)
13 A love so fine

Rimasterizzato ad opera di EV2.


Articolo del 1974 quello di quest’oggi scritto da Dave Marsh il biografo ufficiale di Springsteen.

“Walk tall or don’t walk at all”
By Dave Marsh

I’ve seen Bruce Springsteen twice in the last few months. He is better than anything
on the radio, and he has a new single, “Born To Run,” which, if we are at all fortunate,
will be played across the land by now. Given the current paucity of interesting subject
matter, he’s the subject of this column.
When I first saw him, last April in Boston, it was in a sweaty little bar in Harvard
Square, packed to the walls with street kids and college students, rock writers and
general hangers-on, drunks and know-it-alls. I expected nothing; I got everything.
When I saw him again at the Bottom Line in New York, I expected everything, and he
didn’t let me down. Springsteen is the perfect AM performer. His sangs don’t have all
the obvious hooks that wear out after you’ve heard them for a couple of weeks.
Instead, they grow on you, and soon, you’re fascinated not only by the Latin-inflected
soul and rock he’s playing, not only by Clarence Clemons’s magic saxophone, not only
by Springsteen’s voice—which embodies the mystique of James Dean and (yes) Bob
Dylan—but by the tales he’s telling, and the characters he creates.
There is a passion here, for the mythical girl friend, Puerto Rican Jane (known in
Springsteen’s greatest songs as Rosalita), and for everyone else who pops up: the fishwife
in “New York City Serenade” is enough to make you weep.
The magic of Springsteen harks back to a tradition at least as old as “Jailhouse Rock,”
and “Maybelline.” What you discover in the hundredth listening is not only music that
compels you to listen that often, but a tale that deserves telling. It’s not so far
different from trash epics like the cannibalistic “Timothy,” or even a nice little
suicide saga like “Without You.” But Springsteen does it every time out; if he cleans
up his production, there is no reason why the key line of “Born To Run”—”Tramps
like us, we were born to run”—won’t become the rallying cry of the decade.
But “Born To Run” is not Springsteen’s greatest song. His best is “Rosalita,” the tale of
a love affair at least the equal of Romeo and Juliet’s, or Catherine the Great and
Secretariat’s. It begins with a guitar and saxophone swoop into utter ecstasy that I’m
listening to as compulsively as ever I did to the song closest to its music, Van
Morrison’s “Wild Night.”
Bruce loves Rosie, but Rosie’s parents don’t love him; he’s nothing but rock ‘n’ roll
trash as far as they’re concerned. “Now I know your mama don’t like me ’cause I play
in a rock ‘n’ roll band, and I know your daddy don’t like me, but he never did
understand…And your papa says he knows I don’t have any money,” he taunts,
mocking eternal parental misgivings, just the way Chuck Berry did in “You Never Can
Tell.” But Springsteen has it in him to make the story even more magical, certainly
more contemporary. “Tell your daddy this is his last chance,” he exclaims, pulling his
best lines from nowhere, “To get his daughter in a fine romance. ‘Cause the record
company, osie, just gave me a big advance.” And proceeds to crack up his car in a
Jersey swamp.
There’s no tale anywhere in rock. at the moment and certainly nothing on the radio
today, which can come close to matching it. There’s hardly a performer anywhere
who can make you so joyous when he comes out with the gestures that belong to a
movie star and the voice that belongs to an amalgam of Wilson Pickett and Morrison.
“This is music,” a friend of mine said at the Bottom Line, “that can make you care
Which is what I want to do, and what Springsteen offers that no one else does. Elliott
Murphy and the Dolls, as much as I love them, are doomsayers; Springsteen just
comes out and acts like nothing’s changed, or if it has, he doesn’t care very much,
anyway. Wouldn’t it be a pleasure to hear this stuff on the highway? Might up the
accident rate, of course, but then, that is what the best music has always done: it is a
little like drowning. If your entire life does not flash before your eyes, all the best
parts of it do, or all the most special ones.
And whether Springsteen is joking about being “Born To Lose,” which he wasn’t, or
celebrating Manhattan in “New York City Serenade,” with a passion that can bring
tears to your eyes, or blasting onto the stage with “Then I Kissed Her,” or doing his “E
Street Shuffle,” those moments are so special, you know that next time they’ll be part
of the drowning experiences that total immersion in great music brings.
“Walk tall,” he demands, “or don’t walk at all.” Springsteen struts, because he knows,
as if he were 6’6″ instead of as short as me, that he’s as big as anybody who ever took
a stage. I’d trade everything else I’ve heard this year for the evenings I spent with him.
He has everything, the past, the present and the future. For once in your life, do
touch that dial— Springsteen will touch you back. And when you’re rockin’ your
baby, that’s just what you need, just like it is when there ain’t no baby to rock. The
music on the radio is like Springsteen’s “Spirit In The Night,” and you grab that spirit
every chance you get. This is the best chance of all.


Imperdibile raccolta con i volumi 21, 22 e 26 dell’Uber Project realizzata ormai diversi anni fa su Stone Pony London per iniziativa di Tattodad.

I dettagli di questo bellissimo bootleg di Springsteen in 3 CD:

Title: The Early Uber Collection
‘Label’: Ev2
Format: 3CD


March 14, 1972 – Challenger Eastern Surfboards, Highlands, NJ.
The Uber Series Volume ’26’
(Tinker West’s Professional Rehearsal Room):

Disc One:
01 Don’t You Want To Be An Outlaw (‘Jesse James’, ‘Billy’)
02 It’s All Over Now, Baby Blue
03 When You Dance
04 “It’s A Groove When You Move”
05 Look Towards The Land
06 I’ve Got To Have You Baby
07 “Studio Chatter”
08 Funk Song


May 31, 1973 – WGOE Radio, Alpha Studios, Richmond, VA.
The Uber Series Volume ’22’
(Pre-Air Production Reel-To-Reel Tape):

Disc Two:
01 Intro
02 Satin Doll
03 Band Introduction
04 Does This Bus Stop At 82nd Street?
05 “Something Obscene”
06 The Circus Song
07 “Tonight We Have Vini”
08 Growin’ Up
09 Banter
10 New York City Song
11 “Gonna Do One More”
12 You Mean So Much To Me”
13 Outro


January 6, 1974 – Joe’s Place, Cambridge, MA.
The Uber Series Volume ’21’

Disc Three:
01 You Mean So Much To Me
02 Growin’ Up
03 Let the Four Winds Blow
04 Introduction
05 Zero and Blind Terry
06 Blinded By The Light
07 Intro
08 For You
09 Tuning
10 Rosalita (Come Out Tonight)
11 “Joe Spadafora Thanks”
12 Twist And Shout


Disc One (1) Notes:

Taken from audio of a BRUCE SPRINGSTEEN BAND rehearsal. The band line-up is Van Zandt-Sancious-Tallent-Lopez. In addition to the 55 minutes of music there are nearly 7 minutes of fascinating between-song banter, much of it between Springsteen and Tinker West, who Bruce jokingly refers to as “Stinky”. Tinker appears to be testing some new recording equipment. The sound quality is uniformly excellent. It is evident from the discussions that the rehearsals had been going on for some time before the recording starts. It should be noted that this is not Challenger’s more famous Wanamassa location that Bruce had lived in during the 1969-70 Steel Mill era. Tinker West had relocated the factory to Highlands, NJ in mid-1971 and had then constructed a more professional rehearsal room.

The standout track here is “When You Dance”. Although rough quality live renditions exist, this is a clear rendition, with astounding Springsteen-Van Zandt dual lead guitar interplay. Noteworthy as well is “Funk Song” (also known as “Funk Says Right On”). There are no live renditions of “Funk Song” from this period circulating, however Bruce surprisingly resurrected it during a few shows early on the Born To Run Tour (see gig listings for 23/07/75, 29/07/75 and 08/08/75). In addition to the Dylan song, there is also a cover of “I’ve Got To Have You Baby”, an obscure 1956 R&B single by Jimmy Jones & The Pretenders.

The E Street Band:
Steve Van Zandt
David Sancious
Bruce Springsteen
Garry Tallent
Vini “Mad Dog” Lopez


Disc Two (2) Notes:

Sourced from the pre-air production reel-to-reel tape.  This is a huge upgrade over the existing AM-sourced recording.

This performance (which features all the band in cameos except for Vini Lopez) is highlighted by what many consider the definitive available version of “You Mean So Much To Me”. During the show a fan calls into the radio station and requests Bruce’s old Steel Mill chestnut “Resurrection” – but Bruce doesn’t play it. Interestingly as Bruce takes his seat to perform a song solo at the piano one of the entourage can be heard saying “Janey?” – apparently thinking Bruce was going to perform the recently composed “Janey Needs A Shooter” to which Bruce replies “no” and instead delivers a fine version of his then-new “New York Song”.


Disc Three (3) Notes:

ONE show, double bill, with Springsteen headlining and PETER JOHNSON & THE MANIC DEPRESSIVES opening.


Every track ‘remastered’, removed many cuts from sources and made some better track indexing. Only problem with audio is the hiss which is sometimes very loud (but considering the age of these shows, it’s understandable).
All shows sourced from tattoodad’s über project @ The SPL message board. Thank tattoodad for these shows.
Thanks to ‘brucebase’ for all the show details, shamelessly copied here.


Qualcuno lo ha sentito?  Che ne pensate?

JOE’S PLACE – uber series n. 21

Bel bootleg datato sei gennaio 1974.

Fa parte della Uber Series partita un paio di anni fa ormai.

Ecco la scaletta della serata:

1 New York City serenade
02 Spirit in the night
03 Does this bus stop at 82nd street?
04 Walking the dog
05 It’s hard to be a saint in the city
06 Kitty’s back
07 Thundercrack
08 You mean so much to me
09 Growin’ up
10 Let the four winds blowbootleg, springsteen, ub
11 Zero and the blind Terry
12 Blinded by the light
13 For You
14 Rosalita (Come out tonight) [including “shotgun”]
15 Twist and shout

Purtoppo il bootleg non è completo ed inizia da YOU MEAN SO MUCH TO MUCH ME.