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STOCKHOLMS STADION, STOCKHOLM, SUECIA, 3 JULIO 1988 - 3CD - OFICIAL SONIDO DEFINITIVO

STOCKHOLMS STADION, STOCKHOLM, SUECIA, 3 JULIO 1988. Gira Tunnel Of Love Express Tour. Editado de los archivos de Bruce Springsteen. El sonido definitivo. 3CD oficiales. Grabado por Toby Scott y Ross Petersen. Remasterizado por Jon Altschiller. ¡Atención: El plazo de entrega es de 2-3 semanas! 

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STOCKHOLMS STADION, STOCKHOLM, SUECIA, 3 JULIO 1988.

Gira Tunnel Of Love Express Tour.

Editado de los archivos de Bruce Springsteen.

El sonido definitivo. 3CD oficiales.

Grabado por Toby Scott y Ross Petersen. Remasterizado por Jon Altschiller.

¡Atención: El plazo de entrega es de 2-3 semanas!

90 minutos de este concierto fueron retransmitidos por radio y habían circulado con buen sonido en numerosos bootlegs. Ahora, los archivos de Bruce sacan el concierto completo, 34 canciones. Un concierto excelente, para descubrir como era aquella gira que concluyó en Madrid y Barcelona y que incluye versiones como "Boom Boom", "Chimes Of Freedom" o "I Can't Help Falling In Love" y rarezas como "Roulette", la instrumental "Paradise By The C" o la versión acústica de "Born To Run". Debut en el tour de "Downbound Train" y "Quarter To Three" (que no era interpretada desde 1981).

The acclaimed 90-min radio broadcast from Stockholm ’88 has been remixed from multis and expanded to the full 34-song set. This rollicking Tunnel of Love tour-de-force has it all, as Bruce and the E Street Band, joined by the Horns of Love, storm through key tracks from the album, wide-ranging covers (“Boom Boom,” “Chimes of Freedom,” “I Can’t Help Falling In Love”), essential b-sides (“Roulette”), forgotten instrumentals (“Paradise By the ‘C’”), the acoustic “Born to Run” and so much more.

34-song set, and one of the best shows of the tour. "Downbound Train" makes its tour debut. Due to the time constraints of the radio broadcast “All That Heaven Will Allow” and “Spare Parts” have shorter introductory stories than the first leg of the tour. On the other hand the “You Can Look (But You Better Not Touch)” intro story is expanded almost into a song of it’s own (Don’t You Touch That Thing). The solo acoustic “Born To Run” goes without the usual spoken intro. "Adam Raised A Cain" includes "Hoochie Coochie Man" and "I'm A Man" in the outro. "Cover Me" includes "Gimme Shelter" in the outro. "Dancing In The Dark" includes "Everybody Needs Somebody To Love" and "Lookin' For A Love" in the outro. "Roulette" makes its European debut and "Quarter To Three" is performed for the first time since 1981.

Temas:

TUNNEL OF LOVE / BOOM BOOM / ADAM RAISED A CAIN / THE RIVER / ALL THAT HEAVEN WILL ALLOW / SEEDS / ROULETTE / COVER ME / BRILLIANT DISGUISE / TOUGHER THAN THE REST / SPARE PARTS / WAR / BORN IN THE U.S.A. / CHIMES OF FREEDOM / PARADISE BY THE "C" / WHO DO YOU LOVE? - SHE'S THE ONE / YOU CAN LOOK (BUT YOU BETTER NOT TOUCH) / I'M A COWARD / I'M ON FIRE / DOWNBOUND TRAIN / BECAUSE THE NIGHT / DANCING IN THE DARK / LIGHT OF DAY / BORN TO RUN / HUNGRY HEART / GLORY DAYS / CAN'T HELP FALLING IN LOVE / BOBBY JEAN / CADILLAC RANCH / TENTH AVENUE FREEZE-OUT / SWEET SOUL MUSIC / RAISE YOUR HAND / QUARTER TO THREE / TWIST AND SHOUT

  • Bruce Springsteen – Lead vocal, guitar, harmonica; Roy Bittan – Piano,keyboards; Clarence Clemons – Tenor and Baritone saxophones, percussion, backing vocals; Dan Federici – Organ, glockenspiel, keyboards, accordion; Nils Lofgren – Guitar, pedal steel guitar, backing vocal; Patti Scialfa – Guitar, backing vocal; Garry Tallent – Bass; Max Weinberg – Drums; 
  • Additional musicians:Mario Cruz– Tenor saxophone, backing vocal;Ed Manion– Baritone saxophone, backing vocal;Mark Pender- Trumpet, backing vocal;Richie "La Bamba" Rosenberg- Trombone, backing vocal;Mike Spengler– Trumpet, backing vocal;Jon Landau– Guitar (on Bobby Jean)
  • Also appearing as the Ringmaster –Terry Magovern
  • Recorded by Toby Scott, assistant engineering by Andy Rose, Nick Reynolds, Michelle Reynolds
  • Mixed by Jon Altschiller, additional engineering by Danielle Warman
  • Post Production by Brad Serling and Micah Gordon
  • Mastered by Adam AyanGateway Mastering, Portland, ME, Novemner 2017
  • Production Supervision by Toby Scott
  •  Artwork Design by Michelle Holme
  • Photography by Paul Natkin
  • Tour Director: George Travis
  • Jon Landau Management: Jon Landau, Barbara Carr, Jan Stabile, Alison Oscar, Laura Kraus
  • HD Files are 24 bit 48kHz / DSD files are DSD64

Bruce Springsteen and the E Street Band
Stockholm Stadion, Stockholm, Sweden, July 3, 1988

By Erik Flannigan

Tracing Bruce Springsteen’s career arc from cult artist to superstar, theater to arena headliner, there’s a case to be made that a series of radio broadcasts on the 1978 Darkness On the Edge of Town tour played a significant role. The five home-recorded, fan-traded and oft-bootlegged concerts from The Roxy, The Agora, The Capitol Theater, The Fox and Winterland captured and ultimately spread the magic of Bruce and the E Street Band’s live show, and seemingly converted thousands to fill arenas two years later on the River tour.

Despite that rich history, there were no live broadcasts from the River tour, the Born in the U.S.A. tour or the U.S. leg of the Tunnel of Love tour. Which is why in 1988, after ten years of radio silence, the announcement that a portion of Springsteen’s July 3rd show in Stockholm would be broadcast live via satellite to the U.S. and the world was huge news for fans.

Like many among us, I tuned in that Fourth of July weekend and heard a potent 90-minute first set that wrapped with Bruce announcing plans to join the Amnesty International tour before wrapping the broadcast portion with a cover of Bob Dylan’s “Chimes Of Freedom” (later released on the EP of the same name). It was the first of hundreds of listens to follow.

Conveniently apportioned to fill a 90-minute cassette tape, the Stockholm broadcast joined the five ‘78 b-casts as the most played live Springsteen recordings most of us had. There was just one problem: as great as those 14 songs were, 20 other songs were played in Stockholm after the satellite feed came down, and short of a crummy audience tape, few of us have had a chance to hear the full show, until now.

Happily, this complete, multi-track recording validates what we all presumed: the Stockholm show was one of the best on the Tunnel tour, offering a passionate, hyper-focused first-set and–freed from the pressure of a global listening audience–a rollicking, playful second set and encore. Looking for a sign of Springsteen’s mood after the transmission ended? How about the inclusion of Gary U.S. Bonds’ ultimate party track “Quarter to Three” for the first time since 1981.

Fondness for the familiar first set is richly deserved. It starts with Bruce inviting the audience in the stadium and at home to come aboard with a wonderful “Tunnel of Love,” now followed by a horn-blasting “Boom Boom’ (with its unabashed sentiment of “I need you right now” replacing “Be True,” performed in this slot for most of the US leg). The brazen John Lee Hooker cover forms a bond of emancipation with what follows, “Adam Raised a Cain,” again propelled by the five-piece Horns of Love. Bruce hadn’t toured with a horn section since ‘77 and their presence is a critical component in the distinct sound and theatrics of ‘88 shows.

Because the broadcast was limited to 90 minutes, the first set showcased key Tunnel tracks, including a majestic “Tougher Than the Rest,” “Spare Parts,” “Brilliant Disguise” and “All That Heaven Will Allow.” Bruce also featured two killer non-album tracks: “Roulette,” unforgivably left off The River, but resuscitated to sound an alarm on the Tunnel tour; and “Seeds,” another take on the plight of working-class Americans and this time they’re pissed.

Perhaps the surprise highlight of the first set is “Born in the U.S.A.” Separated from its namesake tour and attendant misinterpretations, the song’s deep-seated anger is rekindled. Listen to Bruce’s shrieks of angst before Max’s drum crescendo, echoed later his own impassioned guitar solo. The story has grown more personal, too, as Springsteen adds new flashback lyrics after the final verse: “I just want your arms around me/I see the fire from the sky/I need your arms around me.” A stunning performance.

Set two is a totally different animal, but no less satisfying. I have often wondered how a seemingly long-forgotten song returns to the set, and there is no better example of this than the sudden reappearance of the instrumental “Paradise By the ‘C’” which opens the second set, after premiering four nights earlier in Rotterdam. What prompted its resurrection, after going unplayed since the Darkness tour? Sure, it suits the horns, but then again, there was no horn section in ‘78.

Regardless, it is a welcome showcase for Clarence and the Horns of Love, and sets the tone for a highly entertaining second set that milks the expanded band lineup and staging dynamics for all they are worth on songs like “You Can Look (But You Better Not Touch)” (which begins with a long, bit of musical teasing and showmanship often referred to as “Don’t You Touch That Thing”), “I’m A Coward” (Springsteen’s comic rewrite of Gino Washington’s ‘60s original) and a chock full o’ horns encore sequence of “Sweet Soul Music,” “Raise Your Hand,” the aforementioned “Quarter to Three,” and the inevitable last song for a show this joyous, “Twist and Shout.”

There are a few serious moments in the back half, among them the fine ‘88 arrangement of Bo Diddley’s “Who Do You Love?” into “She’s the One,” the first “Downbound Train” of the tour, and an unflinchingly earnest reading of Elvis’ “Can’t Help Falling in Love.” Interestingly, Stockholm ‘88 has a connection to Springsteen on Broadway in that the solo acoustic version of “Born to Run” that Bruce is currently performing was first played in that arrangement on the Tunnel tour, a fine take of which is captured here.

Stockholm ‘88 has always been a fan-favorite because of the simulcast. Now restored to full length and remixed from the master tapes, it rightly joins Springsteen’s other legendary radio broadcasts as one of the best concert recordings of his career and a great representation of the Tunnel of Love tour’s European edition.