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BRENDAN BYRNE ARENA, EAST RUTHERFORD, NEW JERSEY, 24 JUNIO 1993 - 4CD - OFICIAL SONIDO DEFINITIVO

BRENDAN BYRNE ARENA, EAST RUTHERFORD, NEW JERSEY, 24 JUNIO 1993. Editado de los archivos de Bruce Springsteen. El sonido definitivo. 4CD oficiales. Grabado por Toby Scott. Mezclado por Jon Altschiller. Remasterizado por Adam Ayan Gateway Mastering. ¡Atención: Se edita a mediados de enero de 2018. El plazo de entrega es de 2-3 semanas! 

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BRENDAN BYRNE ARENA, EAST RUTHERFORD, NEW JERSEY, 24 JUNIO 1993.

Noche mágina en New Jersey. El penúltimo concierto de la gira Lucky Town / Human Touch, con enorme repertorio y con miembros invitados de la E Street Band sobre el escenario. Concierto benéfico para Fight Hunger to benefit World Hunger Year, The Food & Hunger Hotline and The Community Food Bank Of New Jersey

Editado de los archivos de Bruce Springsteen.

El sonido definitivo. 4CD oficiales.

Grabado por Toby Scott. Mezclado por Jon Altschiller. Remasterizado por Adam Ayan Gateway Mastering.

¡Atención: Se edita a mediados de enero de 2018. El plazo de entrega es de 2-3 semanas!

Past and present unite as E Street Band members and special guests drop in on Bruce and the 1992-93 band at the penultimate show of the Human Touch/Lucky Town tour. A stirring 35-song set opens with a mini acoustic set and rolls on through key tracks from both albums plus a few rarities (“Satan’s Jeweled Crown”) before wrapping with an epic, 11-song encore extravaganza featuring Southside Johnny, Joe Ely, Little Steven, Max Weinberg, Soozie Tyrell, the Miami Horns and the Big Man himself.

Temas:

I AIN'T GOT NO HOME (with Joe Ely) / SEEDS / ADAM RAISED A CAIN / THIS HARD LAND / BETTER DAYS / LUCKY TOWN / ATLANTIC CITY / 57 CHANNELS (AND NOTHIN' ON) / BADLANDS / SATAN'S JEWELED CROWN / MY HOMETOWN / LEAP OF FAITH / MAN'S JOB / ROLL OF THE DICE - EVERYBODY NEEDS SOMEBODY TO LOVE / DOES THIS BUS STOP AT 82ND STREET? / BECAUSE THE NIGHT / BRILLIANT DISGUISE (with Patti Scialfa) / HUMAN TOUCH (with Patti Scialfa) / THE RIVER / WHO'LL STOP THE RAIN / SOULS OF THE DEPARTED / LIVING PROOF / THE STAR-SPANGLED BANNER - BORN IN THE U.S.A. / LIGHT OF DAY / SETTLE FOR LOVE (with Joe Ely) / GLORY DAYS (with Steve Van Zandt) / THUNDER ROAD / IT'S BEEN A LONG TIME (with Steve Van Zandt and The Miami Horns) / TENTH AVENUE FREEZE-OUT (with Clarence Clemons, Steve Van Zandt, and The Miami Horns) / BORN TO RUN (with Clarence Clemons and Steve Van Zandt) / MY BEAUTIFUL REWARD / BLOWIN' DOWN THIS ROAD (with Joe Ely, Soozie Tyrell, and Patti Scialfa) / HAVING A PARTY (with Steve Van Zandt, Patti Scialfa, and The Miami Horns) / JERSEY GIRL (with Max Weinberg) / IT'S ALL RIGHT (with Steve Van Zandt and The Miami Horns)

Concert To Fight Hunger to benefit World Hunger Year, The Food & Hunger Hotline and The Community Food Bank Of New Jersey. Joe Ely, Steve Van Zandt, Clarence Clemons, The Miami Horns and Southside Johnny guest. Joe Ely plays guitar and sings on "I Ain't Got No Home", "Settle For Love" and "Blowin' Down This Road". Patti Scialfa plays guitar and sings on "Brilliant Disguise", "Human Touch", "Blowin' Down This Road", and "Having A Party". Steve Van Zandt plays guitar and sings on "Glory Days", "It's Been A Long Time", "Tenth Avenue Freeze-Out", "Born To Run", "Having A Party" and "It's All Right". The Miami Horns guest on "It's Been A Long Time", "Tenth Avenue Freeze-Out", "Having A Party" and "It's All Right". Clarence Clemons plays saxophone on "Tenth Avenue Freeze-Out" and "Born To Run" (this is the only "Born To Run" with Clarence this tour – unfortunately it fades out at the end of the bridge). Soozie Tyrell plays violin on "Blowin' Down This Road". Max Weinberg drums on "Jersey Girl". First ever Springsteen performances in the U.S. of "Satan's Jeweled Crown", "Settle For Love", and "Blowin' Down This Road".

  • Bruce Springsteen - Lead vocal, guitar, harmonica; Zack Alford - Drums; Roy Bittan - Piano; keyboards; Shane Fontayne - Guitar; Tommy Sims - Bass; Crystal Taliefero - Backing vocal, guitar, percussion; Gia Ciambotti - Backing vocal; Carol Dennis - Backing vocal; Cleopatra Kennedy - Backing vocal; Bobby King - Backing vocal; Angel Rogers - Backing vocal
  • Additional musicians: Clarence Clemons - Saxophone, backing vocal; Joe Ely - Guitar, vocal; Patti Scialfa - Guitar, backing vocal; Southside Johnny - Vocal, harmonica; Soozie Tyrell - Violin; Stevie Van Zandt - Guitar, backing vocal; Max Weinberg - Drums; The Miami Horns: Ed Manion - Baritone saxophone; Mark Pender - Trumpet; Richie “La Bamba” Rosenberg - Trombone; Mike Spengler - Trumpet; Joey Stann - Tenor saxophone
  • Joe Ely plays on I Ain't Got No Home, Settle For Love and Blowin' Down This Road
  • Patti Scialfa plays on Brilliant Disguise, Human Touch, Blowin' Down This Road and Having A Party
  • Stevie Van Zandt plays on Glory Days, It's Been a Long Time, Tenth Avenue Freeze-Out, Born To Run, Having A Party and It's All Right
  • Southside Johnny plays on It's Been A Long Time, Blowin' Down This Road, Having A Party and It's All Right
  • The Miami Horns play on It's Been A Long Time, Tenth Avenue Freeze-Out, Having A Party and It's All Right
  • Clarance Clemons plays on Tenth Avenue Freeze-Out and Born To Run
  • Max Weinberg plays on Jersey Girl
  • Soozie Tyrell plays on Blowin' Down This Road
  • Recorded by Toby Scott
  • Mixed by Jon Altschiller, additional engineering by Danielle Warman
  • Post Production by Brad Serling and Micah Gordon
  • Mastered by Adam Ayan Gateway Mastering, Portland, ME, December 2017
  • 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



Bruce Springsteen
Brendan Byrne Arena, East Rutherford, NJ, June 24, 1993

By Erik Flannigan

In contrast to the periods that preceded it, the Human Touch/Lucky Town era has never established the same kind of collective characterization within Bruce Springsteen’s career narrative. We, the fans, have a consensus of opinion on, say, the Darkness tour or Europe ‘81, but 1992-93 remains more unsettled.

By definition it was an aberration, in that it broke from the norm of always touring with the E Street Band. But in hindsight, the greater aberration would have been if Bruce had never toured with other musicians.

For he was hardly alone in choosing to work without his most familiar and beloved bandmates. Neil Young, Bob Dylan, Van Morrison and Elvis Costello, each to varying degrees, changed up who they recorded and toured with more than Springsteen. And like Dylan had done many times before, the 1992-93 line-up was assembled specifically as a touring band that would have to learn both old and new songs. In fact, it was Dylan’s friend and unofficial musical adviser, the late Debbie Gold who Springsteen turned to for help finding new musicians to fill some very big shoes.

The result was a diverse, multi-generational, big-band line-up that, with its five gospel-trained back-up singers, wouldn’t have looked out of place on stage with Dylan circa 1978-81. In fact, Carol Dennis had toured (and more) with Dylan and Bobby King has recorded with him. Elsewhere, Lone Justice veteran Shane Fontayne stepped in on guitar, while session musicians Tommy Sims (bass) and Zack Alford (drums) formed the rhythm section. They were augmented by multi-instrumentalist Crystal Taliefero and familiar face Roy Bittan on piano and keyboards. Gia Ciambotti, Cleopatra Kennedy and Angel Rogers rounded out the back-up singers. This was the 11-piece new band.

We can only imagine the pressure these musicians felt at the start, with the shadow of E Street looming over them, and, to be fair, when the tour kicked off in June 1992, the cohesion of a band wasn’t there yet. An 11-night run in New Jersey later that summer (not coincidentally one more than the famed 10-night stand in 1984) was a bold statement of commitment to the new, but at times the striving was palpable.

One year later, back at Brendan Byrne Arena for a benefit concert to fight hunger and kick off a two-show wrap-up to the tour, things felt decidedly different. After touring Europe a second time and having not played a stateside show in six months, Springsteen and the his band returned with newfound ease, cohesion and quiet confidence.

The June 24, 1993 show, captured on multi-tracks by Toby Scott and newly mixed by Jon Altschiller, is a fascinating listen and offers a chance to reassess the 1992-93 band at their best. It also documents the blending of past and present, as guests from E Street and adjacent neighborhoods also share the stage on this genuinely special night.

As he had begun doing so effectively in Europe, the show starts with a strong mini-acoustic set. Bruce and Joe Ely had shared each other’s stages in Dublin a month earlier, and Ely makes his first guest appearance of the night dueting on Woody Guthrie’s “I Ain’t Got No Home.” Springsteen then plays sharp solo acoustic versions of “Seeds,” “Adam Raised a Cain” and “This Hard Land” that point the way forward to The Ghost of Tom Joad two years on.

The rest of the first set (this was the last band tour with an intermission) serves as a fine showcase of new and old material and the strengths of the musicians. Soul and gospel flavors run rich in these versions of “Better Days,” “Leap of Faith,” “Roll of the Dice” (with its “Everybody Needs Somebody to Love” Solomon Burke coda) and especially the vocal exchange with Bobby King on the in hindsight quite charming “Man’s Job.” The traditional “Satan’s Jewel Crown” is a particular high point and something clearly born from the singers’ gospel heritage. The rock edge is there, too. “Atlantic City” and “Lucky Town” pack the right punch, and though “Badlands” without a saxophone solo still takes some getting used to, it is well played.

The outstanding second set is sharper still, opening with an acoustic guitar and piano version of “Does This Bus Stop at 82nd Street?” that is worth the price of the download alone. Bruce and Roy intertwine magnificently and it is but one of many moments of Bittan’s masterful playing this night. You’ll hear keyboard and piano parts throughout the show that you’ve likely never noticed before as on many songs Roy leads the way.

Elsewhere in the second set, the strength of the gospel chorus is brought to bear powerfully in compelling arrangements of “Because the Night,” “Who’ll Stop the Rain” and “Light of Day.” Patti Scialfa joins her husband for “Brilliant Disguise” and a terrific, long version of “Human Touch.” But the heart of the set lies in the three-song sequence of “Souls of the Departed,” “Living Proof” and “Born in the U.S.A.”

“Souls of the Departed” is a sober elegy, accented with audio from newscasts about the Iraq war that make its sentiments crystal clear (similar audio augmentation of “57 Channels [And Nothing On] in the first set isn’t quite as effective). It flows straight into “Living Proof,” a song of rebirth and arguably some of Bruce’s finest writing of the period. From that point of hope and renewal, the light darkens again with a Hendrix-flavored “Star-Spangled Banner” preface and “Born in the U.S.A.,” in which Bruce emotionally pleads, in manner not heard on other tours, “I got nowhere to go. I got nowhere to go. I got nowhere to run.”

The legendary encore that would see old friends like Stevie Van Zandt, Southside Johnny, Max Weinberg, the Miami Horns and Clarence Clemons take the stage largely speaks for itself. It sounds just as fun now as it surely was then. To their credit, the new band plays songs like “Glory Days” and “Tenth Avenue Freeze-Out” capably, and the performance of Joe Ely’s “Settle for Love” is a surprise highlight. A Springsteen cover of the song wouldn’t have been out of place on High Hopes.

Beyond the undeniable fun of “It’s Been a Long Time,” “Having a Party” and “It’s All Right,” two other encore songs merit attention. Like “Does This Bus Stop,” “Thunder Road” is another Bruce and Roy showcase, this time with Bittan adding sweet organ fills to Springsteen’s acoustic strumming. Finally, if a single song captures the spirit of this era, it the spiritual dream of “My Beautiful Reward,” played here with sparse beauty.

The 1992-93 tour was a shock to the system for fans at the time. But viewed through the lens of nearly two decades of a reunited E Street Band, the expanded Wrecking Ball line-up and the Seeger Sessions Band, this particular period of musical exploration now feels kindred. Meadowlands ‘93 provides a fine snapshot of a hot, soulful summer night when Springsteen’s past and present united.