Boston Music Hall 25/03/1977

Bonjour à tous

Ce concert bien connu depuis longtemps, est depuis peu disponible avec une autre source encore meilleure que la précédente.

Bien sur cela reste une source audience mais absolument superbe, surtout pour 1977.

Le  show est quant a lui absolument "stunning" avec des versions de Night, Dont Look Back, Backsteets, Saint in the City au top, et avec un final qui laisse sans voix.  Si vous ne connaissez pas ce show ou cette nouvelle source, courrez sur la Jungle



Les 3 autres soirs sont également disponible par le même "taper", les master tapes, ci dessous:


Ce concert est entré dans mon Top 10, voir Top 5 des boots, alors que je l'avais toujours dédaigné.

A noter, la présence des "Miami Horns" sur certains titres.

A écouter absolument.

Phil

jubeph a écrit:Bonjour à tous

Ce concert bien connu depuis longtemps, est depuis peu disponible avec une autre source encore meilleure que la précédente.

Bien sur cela reste une source audience mais absolument superbe, surtout pour 1977.

Le  show est quant a lui absolument "stunning" avec des versions de Night, Dont Look Back, Backsteets, Saint in the City au top, et avec un final qui laisse sans voix.  Si vous ne connaissez pas ce show ou cette nouvelle source, courrez sur la Jungle



Les 3 autres soirs sont également disponible par le même "taper", les master tapes, ci dessous:


Ce concert est entré dans mon Top 10, voir Top 5 des boots, alors que je l'avais toujours dédaigné.

A noter, la présence des "Miami Horns" sur certains titres.

A écouter absolument.

Phil

merci
je ne connais pas cette nouvelle version

Je précise, il y a la version original du collectif JEMS et la version identique de Godfather "Are your ready for the final moments"


Bruce Springsteen and the E Street Band
featuring the Miami Horns
Are You Ready For The Final Moment?

Music Hall
Boston, MA
March 25, 1977
16/44.1 CD Version
(also includes Repair Kit for 3/22/77 see below)

Steve Hopkins master via JEMS

Taping Gear: Sony ECM-99A > Sony TC-158SD (recorded on three Maxell UD 90-minute tapes, Dolby B encode)

JEMS 2012 transfer: SH master cassettes > Nakamichi CR-7A (Dolby B decode) > Sound Devices USBPre2 (24/96) > Audacity 2.0 > Peak Pro 6.2 with iZotope Ozone > resample via iZotope MBIT+ to .wav (16/44) > FLAC

01 Night
02 Don't Look Back
03 Spirit in the Night
04 Incident on 57th Street
05 Thunder Road
06 Mona > She's the One
07 Tenth Avenue Freeze-out
08 Action in the Streets
09 It's Hard to Be a Saint in the City
10 Backstreets
11 Jungleland
12 Rosalita
13 Born to Run
14 Quarter to Three
15 Little Latin Lupe Lu
16 You Can't Sit Down
17 Higher and Higher

"Are you ready for the final moment? Are you ready for the last time?"

Night four of what I consider Springsteen's greatest concert stand ever is the final show in the run and a contender for one of Springsteen's finest performances, though that could be said of any night in this remarkable Boston '77 run.

It is certainly a show I have listened to a hundred times or more both on tape and its previous bootleg CD incarnations, all of which suffered to varying degrees from pitch issues. For these 2012 transfers, Steve Hopkins' masters have been pitch tested and corrected (thanks J) and we can now hear this show in all its resplendent glory. I know every nook and cranny of the performance so hearing it sound so fresh has been immensely satisfying.

The fourth night returns the Miami Horns' showcase "Action in the Streets" to the set in the place of "Growin' Up" and preserves the remarkable encore addition of Jackie Wilson's "Higher and Higher," more poignant than ever in the final concert before the lawsuit settles and Bruce finally returns to the studio.

It was this version of "Don't Look Back" that I practically wore out on tape and it still feels like the ultimate performance of the song. The one-two punch with "Night" as the opener has never been bettered. Add to that a marvelous "Incident on 57th Street" and a stunning "Backstreets" that builds to the "SHE LIED"/"JUST BLOW IT ALL AWAY" crescendo that gives even the finest "Sad Eyes" interlude a run for its money.

This performance, and the three previous, Springsteen is alive and electric. I can't imagine a show where he is more in the moment. Hear for yourself. Samples provided. Ticket stub, too, as well as a great photo (cover material you designers out there) of Hopkins' color-coded, Dymo-labeled stack of masters cassettes of the complete Boston run. Over the course of four nights, I think he missed fewer than 90 seconds of music as he flipped tapes, which in itself is incredible. And there's nary a cut this night.

I want to personally thank Steve for putting up with a few years of my gentle pestering to torrent his masters. That he would come to allow me transfer them and prove to be such a fantastic partner in this whole project has been a genuine pleasure. Yeah, I know, it is just a hobby. And we are hobbyists. But putting out the Boston '77 recordings that have meant so much to me and other fans for so long transcends the underground fraternity of which we are all a part.

ALSO included in this torrent is a 3/22/77 Repair Kit: two corrected tracks that fix an issue in the torrent JEMS posted of Hopkins' first night, recording, 3/22/77. hobbes4444 wrote to me awhile back and correctly pointed out (thank you) that there was an editing error in the 3/22/77 tracks that misplaced the intro to "You Can't Sit Down" at the end of "Jungleland." In order to have track IDs at the start of songs and given where the tape flips occur, we sometimes move the intro to a song to the end of the prior song in terms of the file. In this case, instead of tacking the intro of "You Can't Sit Down" to the end of "Quarter to Three" (the song that precedes it), I inadvertently tacked it onto the end of "Jungleland." Happily, the correction only required new versions of two tracks: "Jungleland" (YCSD intro removed) and "Quarter to Three" (YCSD intro added at the end). These should be seamless, so go ahead and drop them into your folder for 3/22/77 and throw away the original files for tracks 10 and 14.


BK for JEMS

bon j'ai jeté une oreille attentive et franchement l'amélioration sonore est loin d'être fulgurante, comme souvent les commentaires des producteurs se veulent définitifs
je suis presque sûr que ce sont les mêmes bandes qui ont été travaillés et pas des nouvelles sources
enfin c'est que mon point de vue 

Oh si c'est une nouvelle source, le boot que tu présentes est bien loin en qualité des nouveaux. Pour avoir écouté les deux au casque, il n'y a pas photo, après , chacun ses gouts

Phil

Dans ce show, la superbe version de Backstreets dure 18'30 et comprend "l'interlude Sad Eyes" d'environ 6 minutes.

Cet interlude nommé Sad Eyes est en fait les prémices de ce qui deviendra Drive All Night.
Bruce intégrera cet interlude dans Backstreets de 1976 à fin 1978 et le fera évoluer.

J'avais récupéré jadis un boot nommé "Saddest Eyes" qui regroupait 17 versions de l'interlude et montrait bien l'évolution depuis le 1er show jusqu'au dernier.
Avec ce boot, il y avait les paroles dans un fichier Word : je mets ici celles de Boston :

11.  3/25/77 Boston Music Hall, Boston, MA

On the backstreets until the end...

'Til the end
Me and you, baby
It's me and you, girl
I remember running back..
And I remember this guy abandoned this car
In this field about a mile and a half outside of town
And at night, just me and her, and Billy used to hitchhike out there.
I remember the kids, they stripped down the outside of it
'til there was almost nothing left
But the interior, the insides were still all right
And we'd ride way down by the railroad tracks
We'd go riding in the backseat
Baby'd take me riding in the backseat
In the backseat
In the backseat
In the backseat
Of that old Cadillac
The kid's got cleats on his boots
Whoa-oh, her heels are stacked
Yeah, in the backseat
Ooh, take me down
Hey, Terry
Take me down
And the world, and it spins
round and round and round
And down and down and down
And round and round and round we go
And down and down and down
And I remember these kids that night
They set fire to this abandoned farmhouse
That was about half a mile up the tracks
And they had these machines down there
And they had these engines down there
And we could see the flames shooting out across the sky
'Til it caught in the field
We sat up on the hood and watched it rushing towards us
Watching the flames rushing toward us
Watched it rushing toward us across the field
'Til we ran back on the tracks
And started heading back into town
And then...
And then
And then she kissed me
And then she kissed me
And then she kissed me
And then she kissed me
Waa-ooh Mmmmm hmmm
And then she promised
And then she promised
And then she promised
And then she lied
And then she lied
And then she lied
And then she lied
She lied
She lied
She lied
Pretty li-li-li-lies
Pretty li-li-li-lies
And I was just wishing
I remember praying that god would send some angels
And blow this whole damn town right in to the sea
I remember wishing that god would send some angels
And blow this whole fucking town right in to the sea
Just wishing that god would send some angels
And blow this whole damn town right in to the sea
Just blow this whole...
Just blow it in to sea
Just blow it all away
Just blow it all away
Just blow it all away
BLOW IT ALL AWAY!
BLOW IT ALL AWAY!
MAKE IT GO AWAY!
BLOW IT ALL AWAY!
JUST BLOW IT ALL AWAY!
JUST BLOW IT ALL AWAY!
JUST BLOW IT ALL AWAY!
JUST BLOW IT ALL AWAY!

Hiding on the backstreets...

TiesThatBind a écrit:Dans ce show, la superbe version de Backstreets dure 18'30 et comprend "l'interlude Sad Eyes" d'environ 6 minutes.

Merci pour ce retour, c'était une mue assez passionnante à suivre effectivement...

De plus cette version de Backstreets est sensuelle, presque sur un tempo plus lent que par la suite, cela lui donne une grandeur et une douceur plus profonde, un grand moment, comme tous les titres de ce soir la.

Un grand concert vraiment.

Phil