From: owner-luckytown-digest@luckytown.org (LuckyTown Digest) To: luckytown-digest@luckytown.org Subject: LuckyTown Digest V6 #500 Reply-To: luckytown@luckytown.org Sender: owner-luckytown-digest@luckytown.org Errors-To: owner-luckytown-digest@luckytown.org Precedence: bulk LuckyTown Digest Wednesday, October 20 1999 Volume 06 : Number 500 NOTE: Sale/trade posts should be emailed to luckytown-ads, *NOT* to luckytown. That includes tix wanted/tix grovels, post them to luckytown-ads, please. Contents: Orange County Register Review (10/19/99) [owner-luckytown@luckytown.org] Orbison bootleg releases; Black and White Night on DVD [Paul Kaytes ] Sky boxes ["Wilco Schepen" ] LA/Staples stoof . . . [RKane@aol.com] Re: LuckyTown Digest V6 #498 [Eric Douglas ] Springsteen's computer gifts stolen [Nancy Legge DiSanza ] Re: Fav Moments [Andy Acunzo ] Setlist breakdown / song list [Joe Pepys ] Bruce travelogue ["Gene Lazo" ] 10/18/99 (long) ["J. Steven Svoboda" ] ---------------------------------------------------------------------- Date: Wed, 20 Oct 1999 01:54:05 -0400 (EDT) From: owner-luckytown@luckytown.org Subject: Orange County Register Review (10/19/99) Reborn to Run REVIEW: Springsteen and the E Streeters prove not all reunions are cash-in nostalgia trips. October 19, 1999 By BEN WENER The Orange County Register Let's not mince words: It was the best show of the year. By far. Right, anyone who was lucky enough to score tickets to Bruce Springsteen & the E Street Band's first of four shows this week at the new Staples Center in downtown Los Angeles probably thinks the same. Heck, some surely had their minds made up well before Sunday night, weeks before they had to suffer through the traffic snarls, parking hassles and endless lines at the all-too-few will-call windows. True, Bruce is undeniably great. An enduring icon. A living legend. The Voice of America. Perhaps the most important songwriter post-Dylan. And the E Streeters? Peerless. But as much as the announcement of this reunion tour delighted the heart, it confounded the head. Much like "Tracks," Springsteen's uneven box set of rarities and outtakes from his 25-year career, the trek seemed to signal that The Boss might be ready for an early retirement $ with the most golden of parachutes. By their very nature, reunion tours smack of cash-in nostalgia, something Springsteen has carefully resisted since giving his crucial supporting cast its walking papers after 1987's "Tunnel of Love." Which brings us to Sunday night at the enormous and packed Staples Center. The hype had been high for months, coming off a well-received debut in Spain and a reportedly thrilling run on the East Coast, including umpteen nights at New Jersey's Meadowlands Arena. (Best sign seen all night: the frat boys behind the stage with the scroll "Meadowlands Arena West.") Would this live up to expectations? How about it surpassed them by leaps and bounds? Springsteen proved for perhaps the first time ever that a reunion tour can go well beyond musty nostalgia to become a fresh, vital celebration of greatness. He managed it through two means: Give the people what they want $ the hits, the classics, the epics, the wild, the innocent and the E Street shuffle; and give 'em what they didn't expect $ the offbeat selections, the revisionism, the thematic pacing that suggests wholly new meanings, the unexpected flashes of brilliance that prove Springsteen, just 50, isn't even remotely close to being finished. But let's focus on the favorites first, since that's what most came (or are going) to hear. The mood was perfect for a trip through time, and it was set instantly, as each member of the E Street Band entered with no fanfare, just increasingly louder applause from the 20,000 fans in attendance. Each player sauntered on like a giant $ even Nils Lofgren, perhaps the shortest guitar god in rock. They were (and are) the conquering heroes (and one heroine), back not so much to revisit their glory days but prove they can return with a mature, magic glow. It made perfect sense, then, that the second song was a smoldering "Prove It All Night." Of course, the days of Bruce and the band doing just that (i.e. turning in four-hour-plus marathons) are long gone. Sunday night we got nearly three hours, though with no intermission. That may be attributable to the show starting at 8:40, more than an hour past the call time. "Got a great new building here," Springsteen said of the $375 million arena. "It's a big building, but it's important that everyone be able to get into the building." In those three hours, however, were packed more gripping moments than could be imagined. There were roaring versions of "Badlands" (expected) and "Murder Inc." (way unexpected; if he can do a throwaway like this in such exhilarating fashion at this point in his career, there's no limit to his post-50 future). Add to it inspired and rousing takes on "Out in the Street" and "Light of Day," the latter with snatches of "Satisfaction" and "California Sun"; a sassy "Working on a Highway"; a slower, sweetly melancholic "Thunder Road"; and an unbelievable "Born to Run," a phenomenally spirited rendition befitting one of the strongest songs of the rock era. REWORKING OLD FAVES All of it was masterful, all of it was required, lest there be a riot. What was both fascinating and remarkably hopeful, though, were Springsteen and the E Streeters' updates on old favorites and more-recent material. Some have been heard before, notably Bruce's gritty swamp-blues version of "Born in the U.S.A.," virtually unrecognizable from the original anthem. There were also gently twanged-up country versions of "Mansion on the Hill" and "The Ghost of Tom Joad," while a killer retooling of "Youngstown" featured the supreme solo of the night from Lofgren, who got metallic and positively orgasmic by its blistering finale. But it's the song that came before it, "The River," that really stood out. Quite simply, Springsteen has finally reached a point in his life where singing it brings new depth; you can't really sing about haunted memories until you've racked up a few of your own. Now, that most despirited line $ "I just act like I don't remember / Mary acts like she don't care" $ packs a pain Springsteen couldn't pull off as convincingly a decade ago. (Ditto a deeply emotional take on "Darkness on the Edge of Town.") The coupling of the despair of "The River" with the biting worker's vengeance of "Youngstown" really drove home its out-of-luck message $ which says more about Springsteen than a million books can. Think of it this way, from a different point in the program: It's the rare artist who can sing "it's a town full of losers and I'm pullin' outta here to win" to a star-studded L.A. crowd and have it resonate so profoundly, for a moment you'd think you were in the backwoods of Arkansas. Springsteen had plenty of help, of course. Max Weinberg is a ferociously determined drummer, clearly one of the greats on the kit. Patti Scialfa is Bruce's best complement, vocally and otherwise. Steven Van Zandt is still his best partner in crime. And the Big Man still blows like a hurricane. And they all sounded utterly gorgeous on a near-closing "If I Should Fall Behind," with each front-liner taking a turn on a verse. But if anything, this night reminded that they have so much left to do together. Bruce is compelling and creative when he's on his own; he's an American master when he has them by his side. Shunning all the hoopla for some smashing tunes led by a man coaxing new life out of a beat-up Fender Telecaster, they rose above the hype. Again. Old friends can do that to you, give you that lift. Sure, that's what this is really about $ old friends reminiscing over good times and slowly realizing they might create some more. Just pray this bunch doesn't let go of that feeling when this tour ends. ************************************* Beth- (leknight@webtv.net) ------------------------------ Date: Wed, 20 Oct 1999 12:39:12 -0400 From: Paul Kaytes Subject: Orbison bootleg releases; Black and White Night on DVD Found this on another music list: > > Orbison Bootlegs Released as Authorized Four-disc Set > > Those who felt the heart attack that claimed Roy Orbison's life in > December 1988 stifled one of the most vital comebacks in rock & roll > history, will find some comfort in next week's release of the Roy > Orbison Authorized Bootleg Collection on Orbison Records. With > Orbison's widow, Barbara, serving as executive producer, this release > pulls together four complete Orbison performances -- Batley, England, > from 1969; Hornchurch, England, from October, 1975; Stockton, > England, from March, 1980; and Birmingham, Ala., from July, 1980 -- > into > a four-disc, slipcase edition. > > The collection is the first offering in a series of authorized live > recordings. "The bootleg series has been on the release schedule for > a long time," Barbara Orbison says of the project. "Whenever I go to > Europe, or when I'm in a > record store here, I always find live recordings of Roy that are > released by a bootlegger, and they charge so much for it. So I > decided to take the four most bootlegged albums and to put them out > into one CD set. It will be on the street for $24.98." > > Orbison has spent years poring through her husband's material, > choosing songs and editing out blemishes from the masters -- > primarily as a favor to his dedicated fan base. "It is truly for the > fans," Barbara says. "I only knew > Roy by his live performances, because he didn't listen to his own > recordings. His live shows were so incredible. Each night when he > stepped on stage, he just gave it his all. Roy would have cringed to > have thought that somebody recorded those shows and then bootlegged > them. He used to feel very uneasy when a fan would come and give him > a bootleg to autograph. He would say to his manager, 'Where did this > come from?' But, you know, it was fan-bought, so he had to smile." > > In addition to stamping out bootlegs with this set, Orbison Records > has other projects on the burner in varying stages of development. > Next up will be the November DVD release of Black and White Night, a > star-studded Orbison concert from 1987 featuring Bruce Springsteen, > Elvis Costello, Bonnie Raitt and k.d. lang. > > This month will also see the launch of a revamped > http://www.orbison.com, run by Orbison fans under the supervision of > Barbara Orbison Productions. In addition to information on all things > Roy, the site also offers his albums and will include the Bootleg > Collection. ------------------------------ Date: Tue, 19 Oct 1999 18:47:46 -0700 From: Johnny Subject: Bruce: Soul Deep Bruce: Soul Deep - ----- At last, after months and months of reading about tour'99, I caught the opening Springsteen gig in Los Angeles on Sunday evening. For this observer it'd been seven long years and a lifetime of memories. Two days later, many observations resonated. Bruce, the live artist, was not really all that different from previous tours. He still worked like a dog, committed himself 100% to his performance and had the crowd in the palm of his hand from the first note. The lighting was excellent, accentuating all the emotional elements that are part of a Springsteen experience. The red and blue hues during his solo, 12 string acoustic "Born In The U.S.A." were striking. And, as he's only done every night for OVER 25 YEARS, Springsteen still considered the kid in the back row who'd never seen the show, still remembered that the only sure thing isn't yesterday or tomorrow, but right now. There was a noticeable effort to keep the tempos down for the opening five song run of "My Love" to "Promised Land," as if he wanted to keep both band and audience on an even keel. The deliberate nature of these arrangements made a lot more sense by actually being there rather than watching a couple of opening tunes from New Jersey on VH1 in July. Additionally, it was evident that years of accumulated experience have made better musicians of each E Streeter. They operate at a much higher level than in 1985; Max in particular has learned to walk like the heroes he thought he had to be. Several songs on Sunday evening were groove-based, like "Working On The Highway," and this band grooved. Tunes like "Youngstown" and "Murder Inc." displayed a much-needed edge to push them along. Bruce's harmonica work on the new arrangement of "The River" is the best of his storied career. The triple guitar attack, although a tad much at times, was well-handled by Bruce; he played most of the solos himself! Yeah! Most surprising was his superb lead on "Backstreets," which I expected he'd give over to Nils or Steven. Although Bruce didn't approach his show as a nostalgia trip, many on Sunday night did. The mighty roar accompanying the opening notes of "Prove It All Night" was evidence enough. "Badlands" and "Bobby Jean" garnered emphatic, cross-aisle high fives, while gorgeous renditions of "Mansion on the Hill" or "The Ghost of Tom Joad" seemed to fall upon numerous deaf ears or beer-seekers. Bruce's comments about Staples Center's inability to seat the crowd by 8pm, "plumbing" problems and preponderance of "skyboxes" were both hilarious and subtle. Sadly, much of the audience seemed to ignore his pitch to check out the local food bank charity booth in the lobby. Crowd interest (and money) appeared to be more devoted to $6.50 cups of beer at omnipresent concession stands. God bless America. To be fair, this wasn't a stereotypically blase L.A. crowd. When Springsteen signaled everyone to raise their hands, 40,000 arms went up. When he ranted, preacher-style, about "life right now," we were all with him. The crowd played a huge part in making "10th Avenue Freeze-Out" a show-stopping success. It was reassuring to observe the median age seemed closer to 30 than 40. Bruce hasn't lost his relevance to every damn Gen X-er! Surprisingly, I noted a slightly more diverse racial mix than expected -- the "Streets of Philadelphia" influence, perhaps? When Springsteen, standing in front of 20,000, busted into two perfect verses of "California Sun" I wondered if he recalled playing the same Rivieras tune in some crappy Jersey gym back in '65 before a few dozen high school peers. One cannot help but feel his choice contained more than a little touch of irony. Opening the second encore, "Thunder Road" seemed consigned totally to the fans. Bruce appeared obligated to include it. It's evident that he's more than a little tired of the "show a little faith" bit sung by the crowd. In lieu of dropping it from the set, a solo rendition utilizing his demo arrangement from 1975 might be stunning and perhaps more personally edifying. By contrast, "Born To Run" was full of life; as with many tracks that Dylan approaches on stage from various periods of his lengthy career, this song allowed a generation of dreams to breathe within its five minutes and just sounded magnificent. "If I Should Fall Behind" was all it was cracked up to be, by far the most moving experience of the night. Such sincerity and tenderness in such a simple, perfect song! As each available musician stepped up to sweetly render their lines, it went beyond mere celebration of an enduring relationship to successfully imbue every soul in the building with grace, love and dignity. On Sunday evening, Bruce renewed a sense of what it means to be alive. This show goes soul deep and a mile wide, something to cherish to as we end the nineties together. Johnny Savage Berkeley CA ------------------------------ Date: Wed, 20 Oct 1999 08:38:02 CEST From: "Wilco Schepen" Subject: Sky boxes In reaction to J. Steven Svoboda's piece on Bruce's remarks about sky boxes: why is he playing the damn place if he doesn't like sky boxes? I bet there's another venue in LA that would suit him. For the bootleggers: if you release this show, call it "Sky (box) High". Wilco ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ------------------------------ Date: Wed, 20 Oct 1999 02:48:59 EDT From: RKane@aol.com Subject: LA/Staples stoof . . . Howdy, all -- Someone asked about crowd reactions re: Sunday vs. Monday @ Staples Center -- um, depends who you're sitting with. I was in a pretty lively section that was on its collective feet for most of the set Sunday. Monday, however, was a different tale, since I was seated way up high in the mezzanine. The folks around me may as well have been on life support. The couple next to me arrived about five songs into things, and then they left before the first encore -- I sense they're probably Dodger fans, too. A tip on Staples parking: The maps that have run in the LA Times and various other publications showing the Staples parking lots and what each one charges may not be accurate. On Monday, I parked in a lot on the Northwest corner of Hope and 9th Streets, which, according to the maps, is an $8 lot. So I was pleasantly surprised when the guy at the lot entrance only wanted $2. Needless to say, I didn't argue. I don't know if this will change for Thursday and Saturday, and the fact that I arrived at the lot fairly early may have something to do with it, but I plan on parking there Thursday, for sure. Getting out of the lot after the show was a snap, too. Now, some questions: - -- Anybody heard any word/have any advice about box office ticket drops? If it's being done at Staples, how many are dropped, how long before showtime, etc.? I'm lacking a ticket for Saturday, and "I need a miracle!" -- oops, sorry, wrong band. - -- Anybody have the lyrics to "Land of Hope and Dreams?" And if so, couldja e-mail 'em to me? Gratia! Rich Kane ------------------------------ Date: Wed, 20 Oct 1999 11:09:26 -0500 From: Eric Douglas Subject: Re: LuckyTown Digest V6 #498 writes: But the set list had something before Ties - it looked like 5 or 6 letters, started with "I", and ended with "dy". Any ideas out there? This is "Indy" - Independence Day. ------------------------------ Date: Wed, 20 Oct 1999 10:05:42 -0600 From: Nancy Legge DiSanza Subject: Springsteen's computer gifts stolen ASBURY PARK, N.J. (AP) - Nine computers donated by Bruce Springsteen were stolen from the Boys and Girls Club of Monmouth County, police said. The Gateway computers, worth about $15,900, were locked in a room named the Bruce Springsteen Technology Center after he donated some of the proceeds from a 1996 concert. Club employees discovered the theft Friday. There were no signs of forced entry, said Cheryl Lonon, president of the club's board of directors. The investigation was continuing Tuesday. ### ------------------------------ Date: Tue, 19 Oct 1999 17:29:49 -0400 From: Andy Acunzo Subject: Re: Fav Moments "Jonathan Mendez" wrote: > 5. Racing 8/1- This was a great show that no one talks about > anymore (opened w/ > Backstreets, played Trouble River, Trapped) but the performance of > Racing the Streets was sublime. Yes! That was the only time I've ben fortunate enough to see this performed live, so I don't know if it's always that good, but geez was that an amazing performance or what? Just transcendent. I can still picture the crowd just rising to their feet during the coda moved by the sheer beauty of it all. Trouble River also was played with such confidence you would have thought it was a regular part of the tour. Andy ------------------------------ Date: Tue, 19 Oct 1999 16:59:20 -0700 (PDT) From: Joe Pepys Subject: Setlist breakdown / song list Bruce & the gang have played 34 shows in the US up until the two week break before Phoenix. Here's what he's been playing and where in the setlist the songs are being played. I've created a spreadsheet with seperate columns for each show. The song details below are from the post-NJ shows, I didn't list all the nuggets played the Great State. Here's the song breakdown: 1------------------------------------------ Each show has begun with 4 to 7 openers: Most frequent tracks here are Two Hearts (every night), Prove It All Night, Ties That Bind, Darlington County, and Darkness; Also popping up - Adam Raised a Cain, Don't Look Back, Trapped; Only once or twice - Atlantic City, Backstreets, Be True, Candy's Room, Does This Bus Stop..., Growin' Up, Incident, Little Queenie (!), No Surrender, Rendezvous, Something in the Night, Spirit in the Night, and Take 'Em as They Come. 2------------------------------------------ Openers have always been followed by two (no more, no less) slower songs chosen from these five: Factory, Point Blank, Mansion on the Hill, The River, Independence Day. 3------------------------------------------ Next, what I call the "heart of the show", these 5 songs always in the same order, played nonstop; from the recordings I've heard, Street-10th is the emotional peak of the show: Youngstown Murder Incorporated Badlands Out In The Street Tenth Avenue Freeze-out 4----------------------------------------- After that, the "post-heart", 2 to 5 songs: almost always: Working on the Highway, Ghost of Tom Joad sometimes: Born in the USA (acoustic), Meeting Across the River, Where the Bands Are. infrequent: Back in Your Arms, Fever, For You, Janey, Loose Ends, She's the One, Sherry Darling, Spirit in the Night, Streets of Phil. 5------------------------------------------ Just before the encores, this pair: a ballad/epic (Jungleland, Backstreets, Racing in the Streets, or NYC Serenade) and then always Light of Day to finish. 6------------------------------------------ First encore, 2 to 4 songs: Born to Run is always in here, most often with Bobby Jean and/or Hungry Heart; less often: Ramrod, Cadillac Ranch, Jungleland, Backstreets one-offs: In Freehold, Stand on it, Red Headed Woman 7------------------------------------------ Second encore, 3 to 5 songs: always here is the trio of Thunder Road, If I Should Fall Behind, and Land of Hope & Dreams; 5 times thrown in: Ramrod. adds: Blinded By The Light, Raise Your Hand, Blinded by the Light, Bobby Jean. There have been 23-26 songs each night. See RMAS (rec.music.artists.springsteen) newsgroup if you'd like to download the spreadsheet (xls format), article is from "RR", subject is "setlist spreadsheet". I can make the file available from my website if there's interest. Cheers, Ron R. ready for Oakland! __________________________________________________ Do You Yahoo!? Bid and sell for free at http://auctions.yahoo.com ------------------------------ Date: Tue, 19 Oct 1999 05:22:27 -0400 From: "Gene Lazo" Subject: Bruce travelogue Cleveland is getting closer! Are there any pre/post show get togethers planned? I'm flying in from Charlotte, NC for both shows and will be doing an article for the local alternative weekly here (Creative Loafing) on my rock 'n roll road trip. Anybody else making the excursion, contact me privately, I'd like to talk to get some background for my story. As a matter of fact, if you have a good Bruce travelogue to share, pass that along as well to cltelazo@carolina.rr.com . I traveled 100 miles, 200 miles, 300 miles train kept on a rollin - - Futuaris Non Irresus Ridebis - ------------------------------ Date: Wed, 20 Oct 1999 09:44:59 -0700 From: "J. Steven Svoboda" Subject: 10/18/99 (long) Another solid, 2:55 show tonight, probably better than opening night. Lots more stars present tonight but I'll leave listing them to others. Tonight I was on the other side of the arena, in section 106, and the sound was no good here too. Same problem as last night when I was behind the stage--I'm not an expert on this stuff but there was a lot of auditory sludge in the background of the sound; sounded lousy. Bruce started with a nice version of "The Ties That Bind." Prove It All Night Two Hearts Trapped! After this song Bruce stuck a piece of paper at the back of the stage, though I didn't happen to see where he got it from. Darlington County. Bruce put his arm around Nils during their vocal duet, then they walk downstage together. I missed good chunks of Bruce's Staples speech tonight but here is what I got: "Welcome, office supply lovers. We have a new building here. I told folks last night that when I pulled up I thought I was playing at the Staples Store for a while. For a while I thought the Staples Center might have been named after Pop Staples or something. But no, it's an office supply store. They must have named it after staples, the things we put paper together with. I kinda liked that... Maybe they named it that because they sold so many staples... I did mention to the powers that be that there were too many skyboxes. They are called skyboxes because they are supposed to be way up out of the way. It's a public gathering. You are supposed to have to leave your room and come out. They told me not to worry about the skyboxes. They are planning for an alteration. This side (pointing to the left side of the stage) will all be Starbucks and this side (pointing to the right side of the stage) will be housing for downsized executives." Hilarious. Next came "Factory." Point Blank in a lovely version. Youngstown Murder Incorporated. Bruce did something I'd never see him do before, taking off his guitar at the end of this song and swinging it in a circle in front of him three times before swapping guitars. On "Badlands," he played to the rear audience for a few seconds before the reprise. He asks, "Are you listening to me?" twice, then "Is anybody alive out there?" twice, then says, "Then let me hear it." "Out in the Street." Bruce hugs Patti from behind right after her "meet me out in the street" vocal solo near the end of the song. Tenth Avenue Freezeout. Someone shouts "BRUUUUUCE" during the quiet part before he starts his river rap and he gives a quizzical look at the audience and says, "You talkin to me?" Tonight I was admiring all the little touches Bruce adds to these shows, such as the great integration of "Take Me To the River" into this song. He said "I want you" four times before singing, "take me to the river tonight." A few little tidbits from the rap that I didn't remember: "the river of sanctification," "the river of transformation," "the river of resurrection." "You can't get there [across the river] without love in your mind." On the "Redheaded Woman" rap Bruce sang, "When it comes to getting a SERIOUS job done..." Patti sang a verse from "Rumble Doll" tonight. Every night, I love Bruce's line about how the something that was still missing from the band was "something very big." Clarence was introduced as "Minister of soul, secretary of brotherhood, my brother on E Street." The third time Bruce said "E Street Band," he said, "Give it up for the legendary E Street Band." He was very happy at the end of the song. He said something three times, which I think was "Are you loose?" He let out a whoop before saying, "I wanna be where the fans are," and going into, of course, "I Wanna Be Where the Bands Are." At the end of "Working on the Highway," he again tossed his guitar into the crowd and danced, then shook a few hands and got the guitar back. He dedicated "The Ghost of Tom Joad," saying, "I'm doing this for Dale Maharidge and Michael Williamson if you're out there." He added another dedication, like last night, to the LA Community Regional Food Bank. There was a lighting miscue on the harmonica bridge, where the lights came up on the house for a second, then quickly went back down again. On "Jungleland," that metronomic hand movement made several reappearances. I loved the screams at the end of the song, especially the longest one, which Bruce put a lot into. Afterward he pointed to Clarence and Roy. "Light of Day." Some additions/changes to this song I didn't remember from before. Everywhere he goes, he sees people "lost in their cell phones, lost in the skyboxes, lost on the freeway." On the line, "If your soul's got bad credit, he said "if your soul" five times. Was Max missing a cue here? On the thunderous applause at the end of the song and the set, he raised his hands up, seemingly calling for more applause, and said, "That's right. That's my job. That's my job. And I love it. That's right." Cool moment. The first encore started with "Cadillac Ranch." Hungry Heart Born to Run. I've enjoyed both performances of this song in LA a lot. Second encore: Thunder Road If I Should Fall Behind There was an interesting moment on the video screens which I am not sure was intended, though it may have been. We saw a hugely unfocused screen with some lights on it, then the picture gradually focused, eventually showing Clarence doing his solo on this song. Interesting effect. Bruce called an audible next and the band did "Spirit in the Night." Well, he DID seem to be in a good mood tonight. He repeated the line, "We closed our eyes" three times. On the second repetition of this, he sang, "and said" and let the audience say the "goodbye." Land of Hope and Dreams had an extended "Come on this train" ending. Nice show. Steven Svoboda ------------------------------ End of LuckyTown Digest V6 #500 ******************************* ********************************************************************* ** LuckyTown WWW URL ** The LuckyTown FAQ, back issues, web-based subscription/unsubscription, and many other things can be found on the LuckyTown WWW Page: http://www.luckytown.org ** LuckyTown mailing list addresses ** You can send email to go into the next LuckyTown Digest to: luckytown@luckytown.org You can send email to go into the next LuckyTown-Ads Digest to: luckytown-ads@luckytown.org Any questions for the list admin should be emailed to: owner-luckytown@luckytown.org To unsubscribe, send email to majordomo@luckytown.org with message body: unsubscribe luckytown-digest To get further information on how to subscribe/unsubscribe/change your subscription address, as well as the other available commands, send email to majordomo@luckytown.org with message body: help ********************************************************************* The contents of this digest are not necessarily approved by the list admin.