From: owner-luckytown-digest@luckytown.org (LuckyTown Digest) To: luckytown-digest@luckytown.org Subject: LuckyTown Digest V9 #89 Reply-To: luckytown@luckytown.org Sender: owner-luckytown-digest@luckytown.org Errors-To: owner-luckytown-digest@luckytown.org Precedence: bulk LuckyTown Digest Friday, September 27 2002 Volume 09 : Number 089 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: Pit experience in Kansas City ["Chris Reed" ] MSG [A1pump@aol.com] RE: City By the Sea ["rockcat" ] FW: "Rising" in the Chronicle of Higher Education ["Green, Denise" ] From Rolling Stone: 'Earle Pays, Springsteen Slides' (By Anthony DeCurtis) [Barry Kaplovitz Subject: Pit experience in Kansas City Long time lurker, first time poster. My experience in the GA pit in Kansas City. Two words: Religious Experience I have seen Bruce from the nosebleeds and decided I wouldn't go if I couldn't get down in front. That being said, Bruce has figured out how to get the devotees in the best seats. My friend and I had GA tickets and arrived at the arena at 2:45 p.m. for the show. Keep in mind this was a mid-week show in a small market. You would definitely need to be earlier for a weekend show. We were numbers 238 and 239. Number 300 was added to the list about 4:00 p.m. Only 300 got in. We met 299 and 300 in the pit who ended up separated from their friends, 301 and 302. 301 did not get into the pit. The pit was big enough so that it was only about half full. Everyone was so polite and well behaved, I would have felt safe to bring my kids. There was one little girl probably 7 or 8 years old in the pit. We could leave and return for concessions with our wristbands. It felt like a private party as we milled around meeting other people as crazy or more crazy than us. Then Bruce began. We were so close, it felt like seeing him at a bar. We were in the back of the mass of people and we could still see the sweat flinging off when he gestured to the crowd. It did not feel like there were 16,000 people behind us. It seemed like Bruce was playing for our little party. I forgot about the rest of the arena until I heard the roar from behind. The sound in the pit was excellent. I could easily hear each guitar part and vocal. The highlight was the solo piano version of "Incident on 57th St." Words cannot describe it. Bruce alone on piano with a single spotlight. Very intense vocal and great piano part. Amazingly, there were some even in the pit that had no idea what the song was. My friend posted the following description on Greasy Lake. Since I could not describe it better, I will plagiarize it here and offer apologies if he catches me. Even in the back of the pit this is what was going on. Drunk chick #1 - what is this? Drunk chick #2 - I don't know. Let's just chat incessantly. Guy picks up cell phone and chats with buddy. Girl #1 - I think it's Racing in the Street. Girl #2 - No, someone said its called Spanish Johnny and the Underworld or something like that. Girl #2 (finally noticing the daggers I am staring in her direction) - Sweetheart, do you know what song this is? Me (quietly and annoyed) "Incident on 57th Street." Girl #2 Huh? Me: "Incident on 57th Street." Girl #2: What album is that on? My friend (getting as pi**ed off as me): the second one! Girl #2: Oh, I don't have that one. Resume chatting in back of pit. I could not believe it. He followed LOHAD with "Goin' to Kansas City" after telling Clarence 3 times "It got's to be done!!". The band appeared truly surprised (as were we) and took awhile before they got into the groove. It appeared at first to be a quick short version but turned into a 15 minute jam. He shouted "Take it CC" and Clarence obliged with a baritone sax solo. He then yelled "Take it Steve" and Steve seemed taken aback for a couple of bars before ripping into his solo. About halfway through, Bruce led the whole band off the stage except Roy. Roy banged out a rollicking boogie-woogie, Jerry Lee Lewis solo that sounded like it would end about 3 different times. Finally, we spotted Bruce crawling back up onto the stage from the far right side. A spotlight caught him but he waved it off and the rest of the band proceeded back to their spots in the darkness to kick it in again for the big finish. I was physically dizzy by the end of the show. Overall, I cannot recommend the pit experience enough. DO IT. GET GA. GET IN THE PIT. You will never regret the extra time in line. Addendum: We ate at the Big Ole Sandwich Shop located a few blocks from the arena. It is know as The B.O.S.S. I am not making this up. People in line were offering to buy the shirts from the sandwich makers. Chris Reed Omaha, NE [text/html attachment deleted] ------------------------------ Date: Thu, 26 Sep 2002 01:07:57 -0500 From: "ferpme" Subject: The pit in KC Thanks to all the organizers of the "line" in KC. The wait was relatively painless...and smoothly organized. AND DEFINITELY worth the wait. I was #144, and ended up between Bruce and Clarence with only 1 person in front of me. Don't know what exactly prompted him to do "NIGHT" and "INCIDENT"...but I hope everyone is so lucky...and if anyone has a photo of the tears streaming down Clarence's face during "YOU'RE MISSING"....I'd like to see them. [text/html attachment deleted] ------------------------------ Date: 26 Sep 2002 13:43:45 -0400 From: A1pump@aol.com Subject: MSG Was only able to get one ticket for MSG and gave it to my wife. Also sent her some LuckyTown Digests. She sent me this I was re-reading some of the posts re: the current tour. As someone who has been profoundly affected by the events of 9/11, I was hoping the concert would somehow provide a catharsis. It didn't, but it came close. The new songs had greater impact musically and emotionally performed live and the old songs took on a new meaning in this context. That they (Promised Land and Darkness--the latter expressed at times with pain and remorse) resonate anew in these times and not as nostalgia shows they are truly classics. When I saw Dylan on 11/19/01, it was important to me that he comment in some way on the tragedy. Bruce has said it with his music and his lack of banter with the audience gave the lyrics added impact. He said "New York, I've been thinking about you" and in the space of 2 1/2 hours eloquently expressed the sadness and anger and the need to persevere and go on with life. "Lonesome Day" was spiritual--although I didn't like the choreography of the band during the song, because it wasn't "party time"--Bruce raising his arms as he almost chanted "It's all right", let us know all our feelings are bonafide, including the desire to press on, despite the bitterness and pain. He gave everything he had--he was hoarse when he spoke at the end of the concert, though his voice was still strong. It was emotionally fulfilling and came full circle, carefully calibrated to raise our emotions and settle us down, and to celebrate life. As he says, "hard times come to us all"--Bruce has always celebrated the spirit that keeps us going. He was true to his convictions, keeping us aware of the hungry, the needy, the attack on our civil rights that are coming from our own government ("Born in the USA" took on a new meaning--not just the anger of the disenfranchised but the scream of an American asserting his stake in this country). I thought I heard some rumbling when he began "American Skin" but he sang it forcefully and at least got the audience's attention if not the biggest applause of the night. Bruce has been with us through the good times--he's helped us party--last night, he helped us grieve and rejoice. My sole ticket was precious to me and the experience unforgetable. So to those people who quibble about the song selection, the length of the concert, comparing the new to the old...they should appreciate the gift given to them. [text/html attachment deleted] ------------------------------ Date: Tue, 24 Sep 2002 11:07:08 -0400 From: "rockcat" Subject: RE: City By the Sea I'm not familiar with Long Beach Island, so it was amusing to me that Asbury Park was chosen to represent that town in the movie. What does Long Beach look today anyway? Maybe it was easier to shoot a movie in Asbury, because the town is so desolate. Many of the scenes were indeed shot inside the Palace and the Casino, along the Asbury boardwalk, and throughout the nearby area. If you watched closely, you could often see Palace signs in the backgrounds of various shots. In one restaurant scene, you could see the reflection on the window of the half-completed high-rise building (which could be clearly seen in several other shots). Naturally, several scenes were altered for the movie, such as the excess graffiti and the sign in front of the "Long Beach Police Station." However, they did make one glaring error...At one point in the film, 2 characters agree to meet (or a cop radios in his position - I forget the exact situation) at the corners of Neptune and Ocean Aves. I'm fairly certain that this intersection does not exist in Long Beach. I enjoyed the movie, but agree that it's no Oscar winner. I got more enjoyment out of picking out the various Asbury locals that I recognized. Paul ------------------------------ Date: Tue, 24 Sep 2002 11:36:08 -0500 From: "Green, Denise" Subject: FW: "Rising" in the Chronicle of Higher Education > Excerpt from > Can We Find an Anthem for 9/11? > > By MARTHA BAYLES > Empty repetition also mars Bruce Springsteen's new album, The > Rising. To his credit, Springsteen puts September 11 at the > center of almost every track. And critics have nominated two, > "Into the Fire" and "Empty Sky," as potential anthems, > doubtless because they bring back the classic rock-anthem > sound of Springsteen's E Street Band. > > But there's a problem here, more serious even than the > repetition. The E Street Band has a heavy sound, thick with > instrumentation and the world's most ponderous backbeat. In > spite of that, the band has always been able to lift off and > become miraculously airborne, like a pregnant pterodactyl. > That is affirmation of a sort, but not the sort that can do > justice to September 11. Given such an imposing theme, it is > understandable that the band should try to make its weighty > sound even weightier. But the result is a different kind of > bombast: a music designed to express high spirits and good > times, straining to express something larger. It doesn't fly. > > Far better are two unpretentious songs about loss, "You're > Missing" and "Nothing Man." Both are the kind of low-key, > raspy ballads that are Springsteen's true metier, and both > speak of heroism. But rather than high acts of self-sacrifice, > these songs are about the everyday heroism of those left > behind to grieve: "Coffee cups on the counter / jackets on the > chair / Papers on the doorstep / but you're not there." > > Still more impressive is the haunting "Paradise," which, in > spite of being about a suicide bomber, is not apt to provoke > any controversy. Like The Terrorist, a remarkable Indian film > about a young woman impressed into a suicide mission but so > intensely alive that she is a walking contradiction of the > evil men sending her to her death, "Paradise" explores the > emotional state of someone manipulated into seeking salvation > through murder: "I sing 'neath the water cool and clear / > Drifting down I disappear / I see you on the other side / I > search for the peace in your eyes / But they're as empty as > paradise." Here Springsteen does what Steve Earle only claims > to do: He imaginatively enters a mind filled with hate and > suffuses it with love. > > Listening to another track on the Springsteen album, "Worlds > Apart," which tacks on a coda of voices praying in Arabic (as > does Earle's ditty), one imagines what the missing ingredient > might be: the spiritual music of Islam. Not to justify the > terrorists' actions -- not at all. Remember, the Taliban > taught that "those who listen to music, on the day of judgment > will have molten lead poured in their ears." But according to > John Baily, a British ethnomusicologist and author of The > Music of Afghanistan, such teaching is "of dubious authority," > and "it looks very much as if the Taliban have made it up." > > So rather than support the terrorists, the inclusion of > Islamic music would oppose them. It would tell the world that > although the terrorists abused the most appealing aspect of > America, its welcoming absorptive culture, that aspect is not > going to change. > > On that ground I nominate "The Long Road," from the soundtrack > of Dead Man Walking, the 1995 film based on the true story of > Sister Helen Prejean, a Catholic nun who sought to redeem the > soul of a condemned murderer. The song is a duet between the > rock singer Eddie Vedder and a world-class musician, the late > Nusrat Fateh Ali Khan. Khan, who died in 1997, was a renowned > practitioner of the devotional Islamic music from Pakistan . . . > > > > This article is available online at this address: > > http://chronicle.com/weekly/v49/i05/05b01601.htm > ------------------------------ Date: Tue, 24 Sep 2002 13:40:35 -0400 From: "Paul Cain" Subject: Brief Chat with Garry On Thursday, September 19 I had the opportunity to catch a show in Nashville, called "The First Amendment Center presents: Freedom Sings at the Bluebird Cafe." Local artists came together under the direction of music director Bill Lloyd and FAC Executive Director Ken Paulson to play banned, or controversial songs, and to celebrate our civil liberties. Among the highlights were "Blowin' in the Wind" sung by Dobie Gray to a rolling Stax beat, "John Walker's Blues" sung by Steve Earle, and "Fortunate Son" belted out by BR-549 vocalist and guitarist Chuck Mead. Backing band for the Chuck Mead tune included Nashville's own Garry W. Tallent, who also backed singer/acoustic guitarist Greg Trooper while he played a great version of Springsteen's song "Paradise" off of "The Rising." Anyway, I had the opportunity to talk briefly with Garry, and told him how my brother snagged me a ticket for the 2nd show of the Bruce tour, in D.C. I happened to be ending up a vacation in Spain the day of the show, and flew from Madrid to Philly, then hopped a train to DC, and made it to the MCI Center, all in one 30-hour day, due to the time change. (I got to my seat with about a half hour to spare.) Garry smiled and said, "That was a little extreme." I asked him who was playing the guitar on the Bruce-penned Clarence Clemons B-side "Summer on Signal Hill" -- is it Bruce, Steve, or David Landau? Garry wasn't sure, but he guessed Landau. I wondered if the E Street Band was diggin' Steven's radio show, "The Underground Garage." Garry said, "Oh, yeah, it's great! He sends it to me on CD." He wanted to know if I listen to it, and I told him that we can't get it in Nashville, so I listen on the Internet (at http://www.hardrock.com/littlesteven/archive.asp.) (Check out the new show, highlighting today's DVD release of "A Hard Day's Night." It's the coolest.) Finally, I asked if we can expect a "Tracks Volume 2" in the future. He said, "There's more stuff out there, as people know from bootlegs," but the most important stuff was put on the box, a forward to seeing him in Lexington, and then let him be -- I'm sure he gets pumped for Bruce info. every day of his life. He's a very nice guy, and a superb player. By the way, it looked like he was playing a vintage double-cutaway Danalectro bass at the Bluebird. The concert lasted from 9:30 p.m. until 12:50 a.m., and here's the other artists who took part: Poco, Amy Rigby, Danny Flowers (who wrote "Tulsa Time"), Swan Dive, Jonell Mosser, Mark Bryan, Maura O'Connell, Sonia, John Jorgensen, Fred Knobloch, Will Kimbrough, Steve Allen, Dolores Watson, Bob Delevante, Pat Buchanan (no, not that Pat Buchanan), Greg Trooper, Don Henry, Jason White, Dave Pomeroy (another great bass player who split the show with Garry), Tommy Womack, Craig Krampf, Mack Starks, Walter "Magnet and Steel" Egan, Barry "and the Remains" Tashian, Holly Tashian, and Adrienne Young. PC ------------------------------ Date: Wed, 25 Sep 2002 18:52:35 -0500 From: Barry Kaplovitz Subject: From Rolling Stone: 'Earle Pays, Springsteen Slides' (By Anthony DeCurtis) From The Latest Rolling Stone September 23, 2002 "So why has "John Walker's Blues" come in for so much harsh criticism, and "Paradise," which many more people have heard, drawn hardly any comment? Part of it is the way in which The Rising was marketed. ..." Earle Pays, Springsteen Slides, By Anthony DeCurtis http://www.rollingstone.com/news/newsarticle.asp?nid740 ------------------------------ Date: Wed, 25 Sep 2002 09:16:06 -0400 From: Mike260581@aol.com Subject: Re: Wembley tickets Hi everyone Just to follow up on Laurie and JRC's posts. The official onsale time for Wembley tickets was 9am, not 10am, so nobody got tickets early, although I did hear a rumour that one or two agencies sold tickets before 9am. Also, I agree there was initially much confusion about availability, but Harvey Goldsmith placed ads in several national newspapers (Mirror, Times, plus the Standard in London) on the day before the tickets went onsale, giving the Wembley box office number and giving price, per person limit and onsale time. The ad also stated that tickets would be available from "All Usual Agents" (i.e. Ticketmaster, Stargreen, First Call, etc). Although it wasn't specified, this meant by Internet, phone or in person. In addition, Badlands e-mailed everyone on their mailing list with the details soon afterwards. So the info WAS put out there in time, but maybe not everybody saw it. You only got a maximum of two tickets if you went to the agencies, but four if you went to the Wembley Box Office (which had the largest allocation)in person. I actually queued for 22 hours at Wembley, paid in cash (no extra charges) and came away with four GA tickets by 10am. I was 64th in line, with many behind me. Unfortunately, scalpers paid unemployed kids to line up among the fans and buy four each, so there will now be literally hundreds of tickets on the black market, Ebay, etc. Credit card/Agency transactions were subject to numerous admin and processing charges/fees, pushing the price of a ticket up to #50 or #55. (About $75) However, legit agencies in the UK usually only charge a few pounds on top, not the exorbitant fees you find in the USA. As JRC said, I'd take Wembley over Earls Court (nearly twice the size) any day. I would also agree that the MEN in Manchester is a great venue. I take his point about the idea of a more central city, but as this is a one-off appearance, London was obviously the most convenient place for numerous reasons. News that Bruce will be back next year for an extensive European tour should placate those who were/are unable to travel. He's sure to play in the north of England next year. Hopefully in Scotland, too, as he totally failed to cross the border in 1999. The Wembley show will undoubtedly be a blast. I was lucky enough to see two of Bruce's six nights there in 1981 and the memories are still strong. Although Bruce performed there with the Crystal and Zac Band in 1992, this new date marks the first time in 21 years that the E Street band have weaved their magic in north-west London. I, for one, can't wait. Mike Saunders ------------------------------ Date: Wed, 25 Sep 2002 15:38:11 +0100 From: William.Blaik@Zarlink.Com Subject: best BITUSA I'm part the way in to enticing another convert to the church of Bruce. For this purpose I am trying to find the best live version of Born In The U.S.A "out there". My current choice would be the one played at the end of the T.O.L tour..with the Gimmie Shelter section. The best I have of this version is the tape of the Stockholm radio broadcast. I also enjoy the Star Spangled Banner into from the HT/LT tour. Does anyone know if these two "versions" were ever..combined, if so when. Or Anyone have other suggestions for the best full band B.I.T.U.S.A ? Contact me on william.blaik@xfab.com Thanks Will ------------------------------ Date: Thu, 26 Sep 2002 13:26:37 -0400 From: JZellers@dhhs.state.nh.us Subject: Meeting B4 the show in Boston? Although I'm still trying to get (a) ticket(s), I'm interested in whether people might be getting together before the show in Boston. Thanks. - John ------------------------------ Date: Tue, 24 Sep 2002 16:22:07 +0000 From: straycatblues@att.net Subject: Stones tour Hey fellow LTD'rs, In a recent post about the Stones tour, Jerry writes: >The current tour is, I admit, mostly a greatest hits tour, but not in the usual sense. The Stones are as powerful, sexy, and creative as ever. They can reinterpret or re-invigorate older stuff, and a Stones show is as vibrant a concert experience as you can ask for. <<< The current tour breaks out as follows for the Stones: The Stadium gigs are greatest hits for the most part, the arena shows are a blend of greatest hits and some rarer gems, like "Stray Cat Blues", "All Down the Line" and "Love in Vain" to name a few. In addition, they are playing some covers, like the O'Jays song "Love Train" and Otis Redding's "I Can't Turn You Loose"....plus "Cant You Hear Me Knocking". The setlist is being varied with several song slots varying by night.....like Bruce has done in the past. The club gigs (Tower in PA, Aragon in Chicago etc) are in a world all their own. I've seen the Stones countless times....These club gigs though are leaps and bounds above anything else....any critic that knocks this tour, or these club/arena shows in particular is not giving the Stones their due. I've criticized their tours before....but not this one....no way. The club shows are like a time-warp to the days when the Stones played for the sake of playing, when they were all vibrant young men reveling in the glory and fame they were experiencing. Ron Wood is playing his best music in years (thanks to sobering up) which is enabling Keith to shoulder less of the overall guitar sound and thereby concentrate on what he does best. The club gigs are including songs such as "I Just Want to Make Love to You (with Dr John)", "Its Only Rock and Roll (with Bono)", "Worried About You", and "Torn and Frayed" to name just a few. The show at the First Union Center in Philly was great...I've never seen Mick sing "Gimme Shelter" so powerfully before...the song was song with an angry- passion like it deserves to be. So, I would not make a blanket statement saying this tour is a Greatest Hits show. I will say, if you can grab a ticket to an arena gig, get one. Watch HBO on Saturday 1/18/03 if all else fails. Fred ------------------------------ End of LuckyTown Digest V9 #89 ****************************** ********************************************************************* ** 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.