Video dal concerto di Springsteen e la E-street band a Londra il 18 maggio 1999.

I hear the guitars ringin’ out
Ringin’ out down Union Street
I hear the lead singer shoutin’ out, girl
I wanna be a slave to the beat
Yeah, tonight I wanna break my chains
Somebody break my heart
Somebody shake my brains
Downtown there’s something that I wanna hear
There’s a sound, little girl, keeps ringing in my ear

I wanna be where the bands are
I wanna be where the bands are
Where the bands are
I wanna be where the bands are

I get off from work and I grab something to eat
I turn the corner and I drive down your street
Little gray houses darling looks like nowhere
But hey I know you’re hiding in there
Come on out for just a little while
You know that heart of stone, girl, it just ain’t your style
Tonight I wanna feel the beat of the crowd
And when I tell you that I love you
I wanna have to shout it out loud
Shout it out loud


I hear the guitars ringin’ out again
Ringin’ on down Union Street
I hear the lead singer shoutin’ out girl
I wanna be a slave to the beat
And I want something that’ll break my chains
Something to break my heart
Something to shake my brains
There’s a rocker’s special on tonight
So meet me on down
‘Neath the neon lights




L’articolo su Bruce Springsteen di oggi è tratto da un giornale del 1982.
Buona lettura e buona settimana.

When he switched on his new four-track Tascam cassette recorder in a bed room of his rented Holmdel, N.J. home last January 3, Bruce Springsteen wasn’t trying to make an album, just demos of a batch of songs written since his marathon 19801981 tour of Europe and America had ended the previous September. Springsteen was shortly due to begin rehearsals with the E Street Band before recording the followup to his first number one album, The River. The band would learn the songs from solo demo tapes. So Springsteen didn’t need to worry that the straight-backed wooden chair in which he sat creaked as he swayed and sang. He wasn’t concerned that a couple of the songs repeated lines almost word for word; the Iyrics were always the last item finished, anyway. Most of all, he relaxed as he played. With only roadie Mike Batlin, sitting in as engineer, for an audience, Springsteen let some of his extraordinary self- consciousness slip away. He did not simply toss off the songs; each number was an assured performance. But the performances weren’t calculated or studied. Like an artist sketching, Springsteen used only the simplest implements: acoustic guitar, harmonica, and occasionally, a muted electric guitar, without a reverb or fuzztone. Springsteen then put the Tascam through its paces, adding echo, a bit of synthesizer, doubling his voice in some spots, putting in backing vocals in others.
Over the next few days, listening to the cassette that resulted, Springsteen became more and more fascinated, not only by the songs themselves, but by his performances, too. The songs were as much of a piece as any album he had released, and the singing and playing, for all their starkness, flowed freely and elegantly, creating a mood that was intimate and uninhibited. There was something else, too, an eerie mystery that suggested the cassette had a life and will of its own. In a word, the tape sounded spooky.
Springsteen went into rehearsals, and then the recording sessions, determined not to lose this quality. But such unworldly moments aren’t simply repeated on command. Though the E Street Band made very good versions of some of the songs, none satisfied Bruce. The other songs he’d written were turning out fabulously but the cassette resisted.
Through the spring, Springsteen fought with those songs. For technical reasons, the cassette would be difficult to master as an alhum but he was being pulled towards doing the songs solo, nevertheless. Desperate, he even tried recording them over again, on his own but in the Power Station. Eventually, he and engineer Chuck Plotkin simply determined that they would sweatout whatever it took to master the original cassette. Over the course of a couple of months, both Springsteen and Plotkin lost a lot of sleep and wore their nerves to a frazzle, but in a way, that just made the process seem more real, sister to the famous struggles that had resulted in Springsteen’s other albums. At any rate, by early August, they’d won, with a master disc that kept the sound of the cassette and steadied the stylus in the grooves, as well. Called it Nebraska.
That’s one story you can tell about this record; there’s another version of the events leading up to the creation of Nebraska that begs to he recounted. however.
In October, 1980, when The River was released and his last tour be gan, Bruce Springsteen played to an enormous cult audience. This audi ence believed intensely in the trans formative powers of a Springsteen performance; as a result, through previous tours a compact grew up between Bruce and his listeners. Ht would give them epic sagas of rock and roll grandeur, replete with power and glory, joy and despair, endless struggle and instant party. They would grant him complete attentiveness, and a virtually insatiable desire for more, pushing not greedily so much as reflexively, keeping the faith the songs expressed, surfing the waves of the music. “The amount of freedom that I get from the crowd is really a lot,” said Springsteen, after a month on the road. He was especially fond of what he referred to as “the big silence,” the contemplative stillness which greeted his quieter, more reflective pieces. A month later, with “Hungry Heart” well on its way to becoming his first top ten single, Springsteen faced a far different audience, no less enthusiastic but a great deal more casual about his shows. This was fitting and necessary; the ritualized cultism, by itself, was a dead end for an artist with Springsteen’s broad ambition. And when it came to rocking out, the new audiences were amazing, quickly caught up in the rapturous E Street environment.
Nevertheless, the newer and larger audience diluted the depth of the rapport, which was especially noticeable in the restlessness with which Springsteen’s slower, quieter songs were greeted. Caught in the exhilaration of the situation, nobody was complaining, though a few observers grew wary of whether even Springsteen could control this massive audience.
In the spring of ’81, Springsteen and the band began their first fullscale European tour. Bruce was greeted as a rock ‘n’ roll emissary whose mission was nothing less than the dissemination of the American dream, and he was given all the respect and devotion that went with it.
Early in each evening’s show, Springsteen would request that the audience maintain silence during the softer passages of the show. The result was as stunning as anything I have ever seen in fifteen years of writing about music. When Springsteen offered a spoken introduction, sang a ballad or the nightly version of “This Land Is Your Land,” the crowd became dead still. But this silence had a special quality—it was vibrant, electric and intense, broken, if at all, only by the soft murmur of friends who spoke English offering quick translations for others nearby. On especially good nights, I felt I could hear people listening. Their deep concentration hung tangibly in the air, and when Springsteen roared back into a rocker like “Badlands,” the mood broke like a superb wave. Bruce rode it that way.
Meanwhile, back in the States, Springsteen’s audience grew even younger and less sensitive to any kind of exchange with the star. It became more and more evident that Springsteen’s listeners were beginning to hem him in, as every superstar’s audience has hemmed him in. Reviewers mentioned this, wondering about how Springsteen would cope; long-time fans grew disgruntled as the newcomers stomped and clapped through “Independence Day” and “Point Blank,” ostensibly in tribute but really asserting their impatience to get on with the rocking.
I don’t know if this decreasing sense of rapport frustrated Bruce; it would be amazing if it hadn’t disturbed him somehow. In any case, it seems certain that if he had released another hard rock record as the sequel to The River, that newer, more casual audience might have buried any possibility of regaining the special relationship
his best concerts created. Those concerts were genuinely two-way affairs, as all great rock shows must be; the new audiences weren’t passive—they demanded entertainment—but they weren’t willing to work, either.
At the very least, Nebraska will tax the attention of such listeners. While I doubt that this had much to do with why Bruce Springsteen made this album, reclaiming that rapport with his listeners is one of Nebraska’s most important functions. But there’s another reason to tell this tale. In some of Nebraska’s best songs—”Used Cars,” “Highway Patrolman,” “Mansion on the Hill”—Springsteen recaptures the hushed intimacy of those European concerts. Indeed, from time to time, these songs seem to have blossomed from the echoes of those vibrant silences.
Ten years ago, when Bruce Springsteen made his first album, Columbia Records and his manager-producer, Mike Appel, tried to force him into a mold: Springsteen was to be “the new Dylan,” the apotheosis of the singer-songwriter. A largely acoustic solo set was what Appel and Columbia’s John Hammond wanted and expected. So it’s tempting to say with the largely acoustic, solo Nebraska, Bruce has finally made his “Dylan” album.
But this isn’t singer-songwriter music, any more than it is rock ‘n’ roll. Nor is it folk music, despite the acoustic instrumentation. The chords and melodies from which Springsteen builds his songs are pop and rock rudiments. It’s the coloration and phrasing that have changed. In the way his guitar playing sometimes suggests a mandolin or his vocals recall Jimmie Rodgers’ yodelling or the cadences of white gospel singers, Springsteen, rock’s greatest synthesist of traditions, hints at an ability to incorporate for the first time in his music, genres older than rock ‘n’ roll and rhythm ‘n’ blues. All of his resources, however, remain rooted in specifically American styles; this provides an undeniable link to Dylan’s best work, but that doesn’t make Nebraska neo-Dylan, unless you’d say that of Willie and The Poor Boys, too.
Dylan’s influence can be heard here, especially in the extended, sighing “all” which links the last line of “Used Cars” to Dylan’s first great song, ”Song to Woody.” That’s fitting, for if Dylan is the father of such a musical approach, its grandfathers are Woody Guthrie and Hank Williams. Nor does it take an expert with a road map to trace the impact of this lineage on Nebraska. But rooting about for antecedents gets you only so &r, for more than anything Nebraska is Bruce Springsteen himself, speaking more directly and more personally than ever before.
Once you’re past the shock of hearing Springsteen play and sing with such stark assurance, Nebraska clearly works familiar territory. It has the cars, the highways, the guilt and quest for redemption and most importantly, many of the same characters of Springgteen’s other work. Joe Roberts, the protagonist of “Highway Patrolman,” is a more mature relation of the men in “Racing in the Street,” “The River” and “Born to Run.” The nameless narrator of “Atlantic City” might be reliving “Meeting Across the River,” and the anonymous wild man of “State Trooper” and “Open All Night” is virtually indistinguishable from the hopeless romantics of “Stolen Car” and “Ramrod.” And who is Mary Lou but the girl whose dress waves early in “Thunder Road”? Isn’t the dreamer of “My Father’s House” the man whose other nightmares are recounted in “Darkness on the Edge of Town” and “Wreck on the Highway”?
But there is someone missing from the cast, or rather, someone who is almost
unrecognizable here: the exuberantly hopeful singer of “Badlands” and “The Promised Land,” “Hungry Heart” and “Thunder Road.” If that man is here, his presence is stunted and twisted, stripped of the desperate joy that is fundamental to his earlier incarnations.
This measures the degree to which Springsteen’s world has changed. Springsteen’s first two rock ‘n’ roll albums opened with proclamations of vitality: “It ain’t no sin to be glad you’re alive” (“Badlands”); “This is a town full of losers, I’m pullin’ outta here to win” (“Thunder Road”). In two of the first four songs on Nebraska, men virtually beg to be executed. And in this album’s most heartbreaking moment, the protagonist of “Used Cars,” a decent kid embittered by poverty, sings of a town full of losers in which no one has even the hope of pulling away: “My dad sweats the same job from mornin’ to morn/Me, I walk home on the same dirty streets where I was born.”
In this world, someone like the highway patrolman Joe Roberts, the most beautifully drawn character Springsteen has ever created, may obey his most decent instincts and still find that he has betrayed himself. In this world, there are “debts no honest man could pay”— owed not by one man, but by many men. There is not just the scarcity of work found in The River; “they closed down the auto plant in Mahway,” and it stays shut. Bosses run wild over workers, and while one class hides behind “gates of hardened steel,” the other works the night shift for punishment. In this land, it is no wonder that men can become as twisted as those in “Johnny 99,” “Atlantic City” and most of all, “Nebraska.”
The tragedy is that this world is recognizable; it is the land we now live in, the society being created by Reaganism and neo-conservatism. Nebraska is the first album by an American performer to come to terms with this political and emotional climate, in which mass murderer Charles Starkweather’s “meanness in the world” is unleashed and made a central tenet of the way human beings are expected to deal with one another.
In this climate, people go mad— not only crazy, but vicious. Nothing remains to check their casual cruelty, and even someone like Joe Roberts, a stolid center of gravity, can’t keep his world from falling apart. In the face of this mean reality, hope, faith, the possibility of redemption—the very engines that have always propelled Springsteen’s music—seem nothing less than absurd. In “Atlantic City,” the singer toys with the idea of reincarnation, as a signal that he’ll soon be able to test its truth; in “Reason to Believe,” the album’s final song, the idea of a life after death is seen as no more ridiculous than the idea that people will treat one another with decency in this one.
In his European shows, Springsteen would sometimes sing an Elvis Presley song. He chose “Follow That Dream,” writing a new verse which expressed his faith in the American possibility Elvis personified: Now every man has the right to live, The right to a chance to give what he has to give, The right to fight for the things he believes
For the things that come to him in dreams
In many ways, Springsteen’s life and career can be seen as an acting out of those lines, an unswerving attempt to put that faith into action. In Nebraska’s final two songs, “My Father’s House” and “Reason to Believe,”
Springsteen finally confronts the possibility that his faith will never be effective, that his idealism is in fact a view of the world turned upside down. “My Father’s House,” a song which moves with the ancient cadences of myth, is as fully realized as any song Springsteen has ever written. But its dream of reconciliation between father and son is ultimately hollow, and while this dream (which incorporates psychological, political and religious symbols) continues to beckon, at the end, he just acknowledges that “our sins lie unatoned,” something that not only has never occurred in Springsteen’s other work, but isn’t even conceivable in most of it.
Cast so far from grace, the very fact that men bother to rise from their beds comes to seem wondrous and bizarre. “Reason to Believe,” on which the album closes, is far from the upbeat, optimistic ending a supericial glimpse might suggest. Indeed, its title is a macabre joke, since the song is really a series of situations in which belief is all but impossiblc- situations in which believing may finally be inconsequential. And while Springsteen brings himself to accept that men (including himself, he hints) do believe, he is unable to fathom why.
The quandary in which this leaves Springsteen isn’t strictly personal. Nebraska is an album which speaks to a broad section of his audience not only through its images of unemployment and economic despair, but through the vehicle of radical doubt itself. However accidentally constructed, its parts are integrated in such an invigorating and complex way that it has the ability of important works to seize an entire historical moment. If all Bruce Springsteen had done in this album was “grow up” enough to question the remainder of his innocence, that would be an achievement, since most artists never get that far. But in asking such questions, he forces them upon his listeners, too.
There’s no way of knowing how many will hear what Nebraska has to say. One of the functions of the political climate now being created is to sap people of their energy to respond, and since Springsteen is also wrestling with the preconceptions of his audience and, inevitably, the deathlock conservatism of the marketplace, the odds aren’t exactly stacked in his favor. The tragedy is that too many—fans, deejays, critics—may not recall how to respond, may already have surrendered to the erosion of possibility and hope that Nebraska so eloquently depicts.
But as grim as it is, Nebraska suggests to me a kind of hope. If, in our dark, heartless land, there is room for work this personal and challenging, then the battles are still being fought. And while that may be an insufficient respopse, it is one hell of a significant start.
Yet Nebraska continues to seem spooky, not only because it is invested with musical magic, but also because these songs are inhabited by the ghost of a time when we knew very well how to respond. The most imposing question is whether the spirit represented by those ghosts can be made manifest once more. Toward that end, too, Nebraska is a start.



Una foto del nuovo arrivato:

Dal fine settimana sarò di nuovo pienamente operativo e ricomincerò a postare regolarmente.



I dettagli di questo triplo bootleg audio di Springsteen che testimonia il concerto a Londra del 28 giugno 2009 durante il tour di Working on a dream.

Bruce Springtseen & The E Street Band,
Hyde Park, London, England – ‘Hard Rock Calling’ festival 2009
Sunday 28th June 2009

Re-Mastered version of Essexboy’s recording

Audio Format…..: FLAC (Lossless, Level 8)
Bit-Depth……..: 16-Bit
Sample Rate……: 48,000 Hz

Lineage: Original Essexboy FLACs > Traders Little Helper (to WAV) > Adobe Audition (Multiband compression, I included a screenshot of the settings used) > Export to WAVs > FLAC Frontend (Level 8, Align)

I originally did this just to dub the incomplete screenshot DVD I posted yesterday, but after someone at JL in the comments section for that asked if I could do all the audio I realised that the essexboy original was in fact the only version circulating at the time. So I decided that it wouldn’t be a bad idea to finish and upload the whole thing.

The original was extrmemly bass heavy with everything else overpowered by it. I reduced the low end and boosted the high end and compressed the dymanic range of everything to balance it all out. The bass is still very well defined and present, but it just doesn’t overpower eveything else anymore. It stil doesn’t sound brilliant, but it is better IMO.

All the track and CD splitting is identical to the original.

01. Intro
02. London Calling
03. Badlands
04. Night
05. She’s the One
06. Outlaw Pete
07. Out in the Street
08. Working on a Dream
09. Seeds
10. Johhny 99
11. Youngstown

01. Good Lovin’ (w/ sign collection)
02. Bobby Jean
03. Trapped
04. No Surrender (w/ Brian Fallon)
05. Waitin’ on a Sunny Day
06. The Promised Land
07. Racing in the Street
08. Radio Nowhere

01. Radio Nowhere
02. Lonesome Day
03. The Rising
04. Born to Run
05. Rosalita
06. Encore Break
07. Hard Times
08. Jungleland
09. American Land
10. Glory Days
11. Dancing in the Dark
12. Outro



Un aggiornamento dei miei bootleg audio di Springsteen.


04.05.1970 Torn and prayed
18.01.1971 Still Mill – Right to fuck on
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
20.12.1978 This is for crazies


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


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


– 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