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
Qualcuno lo ha mai ascoltato?


Articolo, ovviamente su Springsteen, tratto da un numero di People del 1988 quello che vi presento oggi scritto da Susan Schindehette e Victoria Balfour.

Buona lettura e buona settimana.

They stood together, smoldering in the spotlight, separated only by a glinting microphone stand. “ I’m looking for a lover/ Who will come on in and cover me,” he sang, looking into her eyes as she layered a rich harmony over his words. Bruce Springsteen’s passion was there for all to see-and it wasn’t for his wife. Three years ago the Boss, newly married, would gaze lovingly offstage as he sang a heartfelt version of Elvis’ “Can’t Help Falling In Love” to Julianne Phillips, who stood accordingly in the wings. Now the object of his affection is right out front, holding her own against the driving guitars, and matching Bruce note for note. After four years as the only woman in the E Street Band, backup singer Patti Scialfa has moved centerstage as Springsteen’s new paramour.
In a romantic roundelay that shocked some fans and rankled Julianne’s friends, the picture perfect model turned actress has been supplanted by an unlikely successor. Her angled features too skewed for classic beauty, the lanky, red haired Scialfa, at 35, seems to be everything that Phillips, 29, is not. The Boss’s wife, who recently filed for divorce, is a wide eyed straight arrow, aformer cheerleader who was the Christmas Princess in ninth grade. Patti Scialfa, on the other hand, has always been the archetypal Jersey girl – decked out in denim and cruising the streets of Asbury Park with the music blaring. If Julianne is America’s homecoming queen, Patti is “ one of the guys.”

“ She’s a beer drinking buddy,” says Bobby Bandiera, a singer with the Asbury Jukes who joined the band after Patti left it four years ago and who knows Scialfa from the Jersey club scene. “ If you’re in a bad mood about having a fight with your old lady, you can talk to her about it.” Whether thats how Bruce,39, came to keep time with the lady, no one is saying. But certainly the two natives of the Jersey shore share eniugh other interests to keep a conversation going – like music, music and more music. “ Her life’s dream was to be a musician.” says a childhood friend of Patti’s. “ She started writing songs prolifically in high school.”
Patti traces these ambitions to her grandfather, who once wrote songs on the London vaudeville circuit. “ When I was 3 or 4, I would sit with him at the piano,” she once said. “ He’d have a cigarette dangling from his mouth, and he’d ask me, ‘ Do you like this ending or that one?’ He was the first adult who seemed to care about my opinion.”
But it wasn’t until her teens that Patti discovered the other great attraction of a musical life. Her older brother Michael played rock and roll, and practiced in a soundproof room at the Scialfa’s oceanfront home in Deal, N.J. “I remember all these boys came to the house,” Patti said. “I thought, oh, my God, this is fantastic! I want to be in a band with some BOYS!”
Patti had been praised for her voice since elementary school, where she sang in school shows. One day Michael, now a 36-year-old keyboardist and sometime substitute teacher at Asbury Park High, asked her to sing a song with the band. “I heard my voice on his little tape recorder,” Patti recalled. “That was it. I went out and found a band. I must have been 14.” A friend confirms the story: “Michael was her inspiration.”
Like Springsteen, Scialfa set her adolescence to music, playing out her minor rebellions against a sound track of thrumming guitars. “She was always with her guitar,” says Marie McLough lin Cascone, who was a year ahead of Patti at Asbury Park High. “She’d play for you at school outside on the lawn She had a pretty, sweet voice.” Patti’s first musical role models, reports another friend, were Grace Slick and Joni Mitchell.
Patti’s father, Joseph, was a successful businessman who owned an appliance store, among other things, and Deal was a wealthy community. But while their parents played tennis, Patti and her gang, who called themselves the “Deal Rowdies,” took their social cues from the other side of the tracks, hanging out on the beach, driving around Asbury Park and dancing in small, smoky bars. “Patti was a little wilder than I was,” says a close friend, who can remember the whole group camping out on the trampoline at her parents’ house. “Sometimes eight or nine of us spent the night on it, all lined u p i n a row.”
Patti’s teachers at Asbury Park High School remember her as “very quiet” and “intelligent,” though she didn’t push herself and got only average grades. In her junior year she landed the lead in a student-written musical, Step Forward, which had already been cast when Patti showed up to audition. “It was at the last moment that we discovered her,” says the playwright, Anthony Zaleski. “She had a unique, lovely voice. It had resonance and warmth. And she had a very bubbly, effervescent personality. I never remember her in a bad mood.”
After high school Patti auditioned for, and was admitted to, the University of Miami’s music school, whose alumni include pianist Bruce Hornsby and guitarist Pat Metheny. “There were very few girls in the jazz department, and Patti stood out,” recalls one of the school’s professors, Whit Seidner. “Her main interest was pop music, and she was into writing a lot of tunes.” Metheny, who lived in the same dorm as Patti, remembers that “all the hardcore jazz guys loved her and wanted her to sing with them”—and not just because of her rich, smoky voice. “She was definitely good-looking. Everybody always dug her, but she was the girlfriend of [keyboard player] Cliff Carter.” Still, Metheny says, Patti tended to “hang out with the guys a lot. I can remember going to see midnight movies with her. Then we’d stay up all night and talk about music. Everybody was talking about John Coltrane all the time. We were a very serious group.”
After her junior year, Patti transferred from Miami to New York University’s “university without walls,” where she earned a B.A. In 1975 she moved into a Manhattan apartment with a girlfriend from New Jersey and started scrabbling in the music business. Between trips back to New Jersey to play tiny bar gigs, she cut demo tapes and supported herself as a receptionist at a midtown recording studio. She also picked up cash “singing on the streets
in New York and as a studio musician, doing jingles,” says a young woman who knew Patti then. “She did whatever she had to do. She’s a very straightahead person.”
By the late ’70s Patti had achieved some success as one of the three backup singers
for Southside Johnny and the Asbury Jukes, local boys with four albums and a growing national rep. “With that red hair, Patti stands out,” says Lee Mrowicki, manager of the Stone Pony, the legendary Asbury Park club that serves as home base for many New Jersey bands. “She’s always been here at the club. Everybody knew who she was.” Including, it seems, Bruce Springsteen, who would come in on Sundays to catch the Stone Pony’s house band, Cats on a Smooth Surface, which sometimes featured Scialfa doo-wopping to such standards as “Be My Baby” and “Boy from New York City.”
Patti “has been hanging out on that New Jersey scene since she was 15 years old,” says someone who ran in the same crowd. “She knew [former Springsteen sideman] David Sancious, and we were friendly with [current band member] Clarence Clemons. Bruce and Patti had casual social contact.” Patti was “nice, not stuck-up friendly—not a flirt, but pretty maleoriented,” recalls a Stone Pony employee. Adds another: “Along the way she had some boyfriends.”
Local lore has it that when Patti first auditioned for Springsteen 10 years ago, he turned her down for being “too young.” But in 1984, at the start of the Born in the U.S.A. tour, he signed her on as the E Street’s only female member—a tambourine- thumping backup singer. While one Stone Pony denizen considers her singing “just average,” Springsteen seemed to think otherwise. “Bruce is a perfectionist. I can’t see him keeping her in if she couldn’t make the cut musically,” says a source.
On that first tour Patti played little sister to the band. “It’s a very maledominated group,” says the source. “Bruce is a man’s man. In the beginning I think she really had to be flexible and have a good sense of humor. The group spent a lot of time together when they weren’t performing. They talked about music nonstop.” For Patti, being one of the guys was a familiar role—if not the one she might have chosen with Springsteen.
“Patti’s been in love with Bruce for as long as I can remember,” says Curtis K. Smith, her art teacher at Asbury Park High. “We’d always heard this and that about Patti and Bruce from [her brother] Michael. It wasn’t a big surprise around here when it finally came into the open.”
Says another source who’s close to Julianne: “I know Patti’s said to a number of people that getting Bruce has been her goal.” But that’s not to say she pined for him in those early years with the band. She dated Tom Cruise briefly in 1985 and was seen around New York with a number of well-known studio musicians. “Patti was hardly a nun before she met Bruce,” says a friend, adding, “She doesn’t go out with accountants.”
Still, one observer reports that Scialfa was heartbroken in 1985 when Bruce decided to marry Julianne. For her part, Julianne seemed oblivious to any competition. “She would always support Patti to Bruce,” says one of Julianne’s close friends. “When there were fan letters that mentioned Patti, Julianne would always make it a point to mention it to her. She felt sorry for Patti being the only girl in the band. She felt it had to be difficult. And she urged Bruce to support her.”
He did. But, ironically, Bruce’s bringing Patti front and center in the band provided the first public hints that his amorous attentions might be wandering. Fans and critics also detected notes of discontent in the Iyrics to his new songs: “Man meets woman and they fall in love/ But the house is haunted and the ride gets rough,” Bruce sang on Tunnel of Love. When the band began to tour with Tunnel’s new material, Scialfa was in the spotlight almost every night. Asked about her expanding role, Springsteen told a reporter it was just because the new tunes had a more love-laden subject matter. “The album is about men and women, you know,” he said, smiling.
Scialfa was ecstatic about her new work. “I didn’t know when we started rehearsing that he was going to give me a lot to do,” she told a reporter. “It happened slowly over the course of rehearsing. Bruce coaxed me and urged me to reach. He was very patient, very willing to teach. He had a lot of confidence in me.” How long his motives remained purely musical is difficult to say. But by last spring, as Bruce and Patti’s onstage duets took eversteamier turns, rumors of a marital split began to fly. In May there were reports that Bruce had vacated the Rumson, N.J., home he shared with Julianne. In June, Patti and Bruce were snapped smooching in Rome. By midsummer they were openly keeping company in New York, dining tete-atete in Greenwich Village and strolling arm in arm down Park Avenue. And they’ve been dropping in at the Stone Pony to drink beer and talk music, a habit that Bruce lost during his marriage to Phillips. “Patti stifled her feelings for a long time,” says one source. “She’s in love. They’re both in love. They’re glowing. They’re together a lot and they seem very affectionate. It’s not like they’re necking every minute, but they hold hands a lot.” (Scialfa has flatly denied she is pregnant.)
Friends are now divided between the mistress and the Mrs. camps, but the general consensus seems to be that Julianne never saw the storm clouds. “Unless you’re one of the two people married, you never know what’s going on,” said someone who was friendly with the couple. “But one thing is certain: Julianne’s blown away. She didn’t have an inkling that there was a problem. She had no idea he was having an affair.” Now, says a Phillips intimate, Julianne and Bruce are at least talking. “There’s no fighting anger there. There’s personal anger, but they communicate. Actually, other than displaying that sleazeball all over town, he’s been pretty respectable.” The initial reaction to the affair among band members was “not very favorable,” says a confidant of Julianne’s, and Patti’s new status has created tensions. Having enjoyed the spotlight on the Tunnel of Love tour, she’s temporarily out of it at the Amnesty International shows while Bruce plays older tunes.
Still, Scialfa’s life these days has all the elements of a rock and roll fantasy come true. When she’s onstage with Bruce, Patti told a reporter during the Tunnel tour, “It’s like for a moment nothing bad can happen to you. It’s a wonderful give and take. You go through every emotion every night.” At the same time, the spotlight can be a risky place to carry on a love affair. “What a position to be in—terrible and wonderful at the same time,” says one of Patti’s high school friends. “A little pressure, anybody?”
—By Susan Schindehette, with Victoria Balfour in New York and bureau reports


Ma quanto bella è questa canzone?

The Skulls met the Pythons
Down at the First Street station
Alliances have been made in alleyways
All across the nation
These boys live off the milk of a silver jet
And the love of sweet young women
Now the Pythons are down from old Englishtown
And they’re looking to do some livin’
Well the leader of the Pythons
Is a kid they just call Zero
Now Terry’s pop says these kids are some kind of monsters
But Terry says “No, pop, they’re just plain heroes”

Zero and Terry they found a love that burnes like wildfire
Now Terry’s daddy understood that this Zero was no good
A child, a thief and a liar
Well from out of the darkness that breaks the dawn
Zero rode like twilight
He said “Tonight’s the night, Blind Terry, come on”
Terry come on, tonight is the night
Pack your bags, baby

And together they ran like reindeers through the street
Like tomorrow the earth was gonna catch on fire
Now Terry’s dad hired some troopers to kill Zero and bring Terry back home
They crawled up in the night
Like firelight

Now snow-white troopers from the council of crime
Rode silver foxes through Terry’s field
Oh they met the Pythons down on Route 9 but they refused to yield
The Pythons fought with buzz guns
And the troopers with swords like light
And Zero and Terry they ran away
And the gang fought all through the night

Well now some folks say Zero and Terry got away
Other said they were caught and brought back
But still young pilgrims to this day
Go to that spot way down by the railroad track
Where the Troopers met the Pythons
Old timers cry on a hot August night
If you look hard enough, if you try
You’ll catch Zero and Terry and all the Pythons

Oh just hiking them streets of the sky
Just walkin’, hiking the streets of the sky
Just hiking the streets of the sky
Hey Zero

Copyright © Bruce Springsteen (ASCAP)


Piccolo aggiornamento della mia lista di bootleg DVD di Springsteen.

19.09.1978 Passaic first night – Restored edition included soundcheck
00.09.1980 The River rehearsal 
24.11.1980 Lar
22.01.1981 The Boss rocks the Pony
26.07.2004 Toronto – Whole lotta Rosie
21.06.1985 Milano
11.06.1988 Torino
15.06.1988 Roma
03.08.1988 From Barcelona with love
25.08.1988 Wembley Stadium 
16.11.1990 Shrine auditorium

05.04.1995 Live at the Sony Studios
26.10.1996 The J.S. concert 
22.05.1997 Napoli 

09.04.1999 Barcelona first night (including bonus material) 
17.04.1999 Bologna – The GS Master collection
02.05.1999 Mancheter second night 
11.06.1999 Genova
04.08.1999 Lets give this one shot – Screwdevil production
12.08.1999 Closing night in New Jersey
26.08.1999 Then I went to Boston – brucevideos
03.06.1999 Second night in Paris – brucevideos
09.09.1999 Walk softly tonight – brucevideos
09.03.2000 Is this your final answer? – brucedvds
26.06.2000 Another night for you 
27.07.2000 Blinded by the light
18.08.2002 Viva Las Vegas
24.10.2002 This is for you buddy
27.08.2002 San Josè
18.10.2002 Bologna
12.11.2002 Cincinnati lights – CTC 
02.12.2002 March on Atlanta – CTC
09.03.2003 On Australian TV: 60 minutes and more
11.03.2003 Vancouver – Uber challenge vol 1
24.05.2003 Parigi – 2 cam mix
08.06.2003 Firenze – FedeUd
28.06.2003 Milano – Jimi thing version
28.06.2003 Milano – Rambis
15.07.2003 Giants Stadium 1st night
06.08.2003 Take me out to PNC Park – Screwdevils production
13.08.2003 Iso Chicago – CTC
13.09.2003 3 – CTC
18.09.2003 Live at Rentschler Fields – uber 32
01.10.2003 Shea Stadium
03.10.2003 Shea Stadium 
05.10.2004 Rockin’ ass in Minneapolis
10.08.2004 Always bring a spare
07.06.2005 Italian trilogy vol 3 – FedeUd
20.07.2005 Solo in Bridgeport
24.07.2005 A circus town is born – Chwwawsteak production
30.04.2005 Soothing the desert heat 
08.11.2005 Tonight there’s fallen angels – Cheesesteask production
12.05.2006 Live in Milano – Spallabob version
12.05.2006 Milano – Luke version
12.05.2006 Milano – FedeUd
04.10.2006 Live in Friuli – FedeUd
12.12.2006 Santa comes to Red Bank
28.09.2007 The today show performance
02.10.2007 Hartford
28.11.2007 Double shots for Milano – Marisa
28.11.2007 Milano – Bruga version
08.12.2007 Fire down below – brucevideos
10.12.2007 The hungry and the hunted – brucevideos
17.12.2007 Paris Bercy 
22.05.2008 The beat of your heart
25.06.2008 Summertime in Milano – brucevideos
19.07.2008 Earthquake in Barcelona – Larry&Tsitalia
27.07.2008 Giants Stadium 1st night – NYBitch
28.06.2009 Hyde Park – London 
19.07.2009 Surprise in Rome

8mm – brucevideos
New Jersey dream shows 1999

The Tunnel of love express tour 
Tracks European Promotour
Years of innocence 1972-1981
Magic Top 12
Italian TV special – Alex 61
Ghost of the balcony 1996-1997
TV appearances 1989-1997
Magic on TV – brucevideos
Classic 1978 – Apocalypse sound
A Superbowl Journal
We are one
The complete Bruce Springsteen TV apparances


Manca poco ormai all’ uscita del cofanetto di Bruce Springsteen, la versione originale dell’ articolo la trovate qui.
Buona lettura e buona domenica.

Shedding Some Light on ‘Darkness’

Published: October 6, 2010
A lot of motives might have been at play in “The Promise: The Making of ‘Darkness on the Edge of Town’ ”: nostalgia, vanity, a desire for documentation or benediction. One thing that’s undoubtedly on display, though, is bravery.
Frank Stefanko/Sony Music Entertainment
Bruce Springsteen in “The Promise: The Making of ‘Darkness on the Edge of Town,’ ” on HBO.


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For much of the documentary, making its debut Thursday night on HBO, the director, Thom Zimny, cuts between a contemporary interview with Bruce Springsteen and footage shot more than 30 years ago of the young Bruce, an intense and beautiful creature who looks like the Robert De Niro of “Mean Streets,” but friendlier.
Mr. Springsteen, now 61, is aging remarkably well, but still — how many of us, at that age, would want to spend an hour and a half being compared with our 28-year-old selves?
Those scenes of Mr. Springsteen and the E Street Band in the studio during the year they worked on “Darkness on the Edge of Town,” their fourth album, were shot in grainy black and white by Barry Rebo, a future cinematographer and producer. Along with old color home movies of the Springsteen family, they give “The Promise” a surface resemblance to Bruce Weber’s great musical documentary “Let’s Get Lost,” about the trumpeter Chet Baker.
“The Promise,” however, is much smaller in scope. It’s a standard making-of documentary, proceeding chronologically through the tribulations and triumphs on the road to the 1978 release of “Darkness,” three years after “Born to Run” — an agonizingly long gap at a time when new songs on the radio were the only way to reach a mass audience.
What elevates the film are its subjects, both the artist and the album, which established a style and a set of themes that would define Mr. Springsteen’s subsequent career. Punk, which was developing at the same time, may get all the credit for revolutionizing popular music, but Mr. Springsteen’s determination to move away from the highly engineered and sterile perfectionism of 1970s rock made “Darkness” just as innovative in its own way.
Springsteen fans — a particularly knowledgeable and devoted audience — will be mesmerized by Mr. Rebo’s footage, which, according to HBO, has never been shown publicly. Those of us who remember where we were when we first heard the album can indulge our nostalgia while taking in the evidence of Mr. Springsteen’s stubborn yet calm determination to find exactly the sound he was seeking.
Happiest of all will be the Springsteen completists, rewarded by nuggets like his singing of “Candy’s Baby” (an earlier version of “Candy’s Room”); an alternate verse of “Something in the Night” or the never-released “What’s the Matter Little Darling”; or songs that went to other artists, like “Because the Night” (Patti Smith) and “Talk to Me” (Southside Johnny).
In the background of one shot Mr. Zimny identifies the fan Obie Dziedzic, who advised his hero to record the version of “Racing in the Street” that included a verse about a girl he met — thereby helping preserve some of Mr. Springsteen’s most romantic lyrics. (“Tonight my baby and me we’re gonna ride to the sea/and wash these sins off our hands.”)
In addition to the interview with the latter-day Mr. Springsteen “The Promise” includes reminiscences by most of the core members of the E Street Band and the producers Jon Landau and Jimmy Iovine. Mr. Springsteen is as intelligent and articulate a commentator as always, but he doesn’t have much to say that sounds new. On the themes that underpin “Darkness,” like sin or “deep despair, resilience, determination,” you’d rather just hear him sing.
More enlightening is Chuck Plotkin, who was brought in to help Mr. Iovine mix the album and who describes how Mr. Springsteen communicated the sounds and effects he wanted to achieve through visual, cinematic images. More amusing is Steven Van Zandt, the guitarist and latter-day “Sopranos” star, who still gets testy on the subject of the 70 new songs he had to learn before Mr. Springsteen chose the 10 that would make it onto the album. (“The Promise” was one of the rejects, after the band had spent three months rehearsing and recording it; it would show up 21 years later on “18 Tracks.”)
“The Promise” (the film) fits on the shelf with other friendly documentaries released in the past few years about great rock songwriters of the 1960s, ’70s and ’80s, like Bob Dylan,Neil Young and Tom Petty. It doesn’t approach the complexity or panache of Martin Scorsese’s movie about Mr. Dylan or Jonathan Demme’s films about Mr. Young, but in its modest way it’s a fitting tribute to an album meant to be lean, angry and unadorned.
The Promise
The Making of ‘Darkness on theEdge of Town’HBO, Thursday night at 9, East-ern and Pacific times; 8, Centraltime.Directed by Thom Zimny; Jon Landauand Barbara Carr, executive producers;Mr. Zimny, producer and editor; WilliamRexer, cinematography; archival studioand performance footage originally pro-duced and directed by Barry Rebo. Pro-duced by Thrill Hill Productions.

A version of this review appeared in print on October 7, 2010, on page C8 of the New York edition.


Uno dei bootleg di Springsteen e la E-Street band con il titolo più lungo in assoluto: CATCH THESE BIG STARS IN THE NIGHT … IF YOU CAN!

Ottima la qualità audio essendo una trasmissione radio.

Bruce Springsteen and E Street Band
“Catch These Big Starts In The Night …If You Can!
31-12-1977 Capitol Theatre, Passaic, N.J., U.S.A.
Radio Broadcast
CD-r Trade – EAC (Secure Mode) – Wav – Flac Level 6

CD 1:
1. Auld Lang Syne (Traditional)
2. Havin’ A Party (Cooke)
3. The Fever (B. Springsteen)
4. I Don’t Wanna Go Home (Steve Van Zandt)
5: Higher And Higher (Jackson, Smith)
6. Little Latin Lupe Lu (Medley)
7. You Can’t Sit Down (Clark, Upchurch, Muldrow)
8. DJ’s Talking About Show

CD 2:
1. Drive All Night (B. Springsteen)
2. Backstreets (B. Springsteen)
3. Born To Run (B. Springsteen)
4. Quarter To Three (Barguer, Guida, Anderson)

Label: Eagle Records CD 005