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MEADOWLANDS ARENA, EAST RUTHERFORD, NEW JERSEY, 25 JULIO 1992 - 3CD - OFICIAL SONIDO DEFINITIVO

MEADOWLANDS 1992. MEADOWLANDS ARENA, EAST RUTHERFORD, NEW JERSEY, 25 JULIO 1992. Editado de los archivos de Bruce Springsteen. El sonido definitivo. 3CD oficiales. Grabado por Toby Scott. Mezclado por Jon Altschiller. ¡Atención: Se edita en CD a medidos de mayo de 2019. El plazo de entrega a partir de ahí de 2-3 semanas! 

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MEADOWLANDS 1992.

MEADOWLANDS ARENA, EAST RUTHERFORD, NEW JERSEY, 25 JULIO 1992.

Editado de los archivos de Bruce Springsteen.

El sonido definitivo. 3CD oficiales.

Grabado por Toby Scott. Mezclado por Jon Altschiller.

¡Atención: Se edita en CD a medidos de mayo de 2019. El plazo de entrega a partir de ahí de 2-3 semanas!

Actuando con su nueva banda frente a los entusiastas fans de su tierra natal, Springsteen hace un esfuerzo adicional en este set animado que presenta Human Touch y Lucky Town, junto con algunas golosinas especiales. New Jersey 1992 ofrece 13 canciones de los dos álbumes, desde "Living Proof" y "Souls Of The Departed" a "Real Man" y "All Or Nothin 'At All". También muestra la única presentación de la gira de la gema del evangelio "Ninety-Nine And A Half (Won’t Do)”, donde sobresalen los coristas, más un exclusivo arreglo de solo-a-banda de “Open All Night” que actualiza de forma divertida la historia de la autopista.

Performing with his new band in front of eager hometown fans, Springsteen goes the extra mile in this spirited set showcasing Human Touch and Lucky Town along with a few special treats. New Jersey 1992 delivers 13 songs from the two albums, from “Living Proof” and “Souls Of The Departed” to “Real Man” and “All Or Nothin’ At All.” It also features the tour’s only performance of the gospel gem “Ninety-Nine And A Half (Won’t Do)” showcasing the background singers, plus a unique solo-to-band arrangement of “Open All Night” that hilariously updates the turnpike tale. 

BETTER DAYS / LOCAL HERO / LUCKY TOWN / DARKNESS ON THE EDGE OF TOWN / OPEN ALL NIGHT / IF I SHOULD FALL BEHIND / 57 CHANNELS (AND NOTHIN' ON) / BADLANDS / THE RIVER / LIVING PROOF / MY HOMETOWN / LEAP OF FAITH / MAN'S JOB / ROLL OF THE DICE / ALL OR NOTHIN' AT ALL / NINETY-NINE AND A HALF (WON'T DO) / REAL MAN / COVER ME / BRILLIANT DISGUISE (with Patti Scialfa) / TOUGHER THAN THE REST (with Patti Scialfa) / SOULS OF THE DEPARTED / BORN IN THE U.S.A. / LIGHT OF DAY / GLORY DAYS / WORKING ON THE HIGHWAY / BOBBY JEAN / HUNGRY HEART / THUNDER ROAD / BORN TO RUN / MY BEAUTIFUL REWARD

"Open All Night", "Badlands", "All Or Nothin' At All", the tour's lone "Ninety-Nine And A Half (Won't Do)", "Real Man" and "Tougher Than The Rest" are added to the 30-song set - longest of the tour to date. First ever performances in the U.S. for "All Or Nothin' At All" and "Real Man". "Open All Night" is a new arrangement with Bruce playing the song alone on the guitar all the way through with help from Roy on the keyboards and Shane on the slide guitar before the full band kicking in at the end. The second set includes the last known "Real Man" and the final "Tougher Than The Rest" of the tour proper. "The Star-Spangled Banner" is played as a lead-in to "Born In The U.S.A.".

  • Bruce Springsteen - Lead vocal, electric and acoustic guitars, harmonica; Zack Alford - Drums; Roy Bittan - Keyboards; Shane Fontayne - Electric guitar; Tommy Sims - Bass; Crystal Taliefero - Electric and acoustic guitars, percussion, saxophone, backing vocal; Gia Ciambotti - Backing vocal; Carol Dennis - Backing vocal; Cleopatra Kennedy - Backing vocal; Bobby King - Backing vocal; Angel Rogers - Backing vocal
  • Patti Scialfa sings on “Brilliant Disguise” and “Tougher Than The Rest”
  • Recorded live by Toby Scott, assisted by Greg Goldman and Gary Myerberg
  • Mixed by Jon Altschiller from Digital PCM multitracks; Additional engineering by Danielle Warman
  • Mastered by Adam Ayan, Gateway Mastering
  • Post-Production: Brad Serling and Micah Gordon
  • Artwork Design: Michelle Holme
  • Photo by Neal Preston
  • Tour Director: George Travis
  • Jon Landau Management: Jon Landau, Barbara Carr, Jan Stabile and Alison Oscar
  • HD Files are 24 bit / 44.1 kHz, DSD files are DSD64.

NINETY-NINE AND A HALF WON’T DO

By Erik Flannigan

The 11-night stand at the Meadowlands Arena to kick off the 1992 U.S. tour was a bold statement of intent. It’s surely intentional that it was one show more than the famed ten-show run at the same venue in 1984, the difference being that this time Bruce was coming home with new friends, not familiar ones. Touring for the first time without the E Street Band and playing in front of what are arguably his most diehard fans is a daunting proposition. But with opening night jitters out of the way, the second show on July 25, 1992 offers a hungry, highly entertaining performance that plays to the new lineup’s gospel-meets-roots-rock strengths.

Right from the top, Bruce is wholly committed and in stellar voice, his rich timbre leading the strong show-opening trio of “Better Days,” “Local Hero” (complete with local landmark namechecks to show his Garden State cred remained intact), and “Lucky Town.”

As I wrote in the notes for the 1993 release at the same venue, Bruce’s new musical collaborators “wouldn’t have looked out of place on stage with [Bob] Dylan circa 1978-81,” and that particular Dylan-era frame of reference applies to the music, too, as the approach to both new and old material was to make it more soulful while still rock ’n’ roll. The playing of the core band (Shane Fontayne on guitar, Tommy Sims on bass, and Zack Alford on drums) with a full European tour already under their belts is punchy and tight, while the background singers add gospel gravitas to the proceedings–an appealing combination.

Even on familiar material, these off-E Street versions don’t sound quite as “different” 27 years on, in a good way. The opening set features a first-rate “Darkness on the Edge of Town,” an eloquent reading of “The River” with a long, heart-heavy harmonica outro, and an inspired tour debut for “Open All Night.”

Aimed squarely at this turnpike audience, “Open All Night” starts solo and builds to full band in a manner that may suggest what the unreleased “Electric Nebraska” version sounded like ten years prior. Better still, in the middle of the song, Bruce tells an updated version of the yarn he spun on the Born in the U.S.A. tour, noting the closure of his beloved Howard Johnson’s and a reunion with the waitress at Bob’s Big Boy who reminds him her restaurant is still “open all night.” Good fun.

The first set wraps with four key tracks from the new albums, wrapped around a deeply personal “My Hometown,” introduced with an earnest story about parenting and dedicated from one relatively new dad to all the “moms and pops.” A dynamic performance of “Living Proof” again shows the song to be Bruce’s most powerful from the era. “Leap of Faith” is endearing and infectious thanks in large part to the singers, while the Sam and Dave-style vocal duet with Bobby King on “Man’s Job” raises it from catchy ditty to heartfelt homage. A feature-length “Roll of the Dice” wraps a spirited and undeniably entertaining first act.

After the break, the rarely performed “All or Nothin’ at All” proves a fine set opener and gets the energy of the show right back on track. It’s the one song from Human Touch that sounds like it could be a Born in the U.S.A. outtake, a spiritual cousin to the likes of “I’m Goin’ Down.” The crowd enjoys it too, singing along in full voice when tasked to do so. Having been played in concert fewer than a dozen times, its inclusion here is a welcome opportunity for fresh appreciation.

What follows is another rarity and one of the highlights of the tour, “Ninety-Nine and a Half (Won’t Do),” inexplicably performed only this night (and at a private tour warm-up in June, suggesting it may have been considered for a regular feature in the set at that point). The gospel tune has been covered by everyone from Wilson Pickett to Creedence Clearwater Revival, but Springsteen’s version casts him as a humorous preacher questioning the commitment of men in relationships, while King, Carolyn Dennis, Angel Rogers and the rest of the background vocalists sing like they’re wearing choir robes. The result is amusing, cleverly arranged, and another lost gem rediscovered by the download series.

On the whole, the 7/25/92 performance has aged well, but there are a couple of exceptions. “Real Man” is another rarity, performed on 7/25 for the very last time in concert. Bruce himself admits, “This next song I almost threw off the album because I thought it was too corny, but what can say? It’s how I feel.” Corny we accept, especially from a man in love. More difficult to ignore is the synthesizer that could not sound more dated, though in the end, “Real Man” is interesting if only for the sheer novelty factor of it in the overall canon.

Three recent classics return us to regularly scheduled programming: a spot-on “Cover Me” with fine fretwork from Fontayne, and two Patti Scialfa features, “Brilliant Disguise” and “Tougher Than the Rest,” the latter derailed slightly by those pesky period synths, though Bruce sings all three superbly.

The show’s denouement comes with the pairing of “Souls of the Departed” into “Born in the U.S.A.” “Souls” begins in desert darkness, with news reports of bombs over Baghdad riding desolate guitar strains a la U2’s “Bullet the Blue Sky.” It is a sharp-edged, commanding performance that moves through flourishes of “The Star-Spangled Banner” a la Hendrix into “Born in the U.S.A.” to slam home the point Bruce made so clearly on last month’s release: “War. What is it good for? Absolutely nothing.”

The show wraps with a run of crowd pleasers–”Light of Day,” “Glory Days,” “Working on the Highway,” “Bobby Jean,” “Hungry Heart”–and the tour’s gorgeous, stripped-down “Thunder Road,” before “Born to Run” and Bruce’s best-ever coda,“My Beautiful Reward,” send us out on a high, hopeful note.

Because of the new band, 1992-93 always carries an asterisk in Bruce’s live history, like a strike-shortened baseball season. But as was the case in the major leagues, they still played the games and the games still counted, especially to Springsteen himself. One can feel his commitment in this performance, joyfully trying to win over the Jersey crowd and largely succeeding.