Customer Reviews

Live in New York City (Multichannel/Stereo)

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When Bruce Springsteen reformed the E Street Band to mount a world tour that would stretch out over the course of 1999 & 2000, amid the ecstasy of it all, there were some questions surrounding the tour. It had been twelve years since the band played a full tour together and with most of the band pushing fifty would they still have the spark and fire that made them the most cohesive and electrifying live act in music. Well any questions that were out there were quickly erased the moment they hit the stage. Like a fine wine, the band has gotten better with time. They may not be able to put on the four hour marathons they once did, but they were much tighter than they had ever been, making the music crisper and more passionate. This live set is taken from the last two shows on the final stop of the tour, Madison Square Garden, New York City and are the basis for his first televised concert performance on HBO. As Mr. Springsteen often does, he reworks songs in concert, giving them a different edge. "Youngstown" is transformed from the quiet acoustic number on The Ghost Of Tom Joad into a searing, blazing rocker marked by a buzzsaw guitar solo by Nils Lofgren which segues perfectly into another burner, "Murder Incorporated". "Born In The USA" is done in its original early Nebraska version with some impressive slide acoustic guitar by Mr. Springsteen. The song takes on a starker quality and strips away any confusion about what the song is about. "If I Should Fall Behind" finds Little Steven, Patti Scialfa, Mr. Lofgren and the Big Man, Clarence Clemons sharing the mic with Mr. Springsteen in one of the most poignant moments from the shows. "Tenth Avenue Freezeout" becomes a r&b soaked, sermon about the rededication and respiritualization of the band where Mr. Springsteen involves the crowd in a singalong and introduces the band members. "The River" is still the somber tale of despair but Mr. Clemons sax solo cuts through it like a beacon of light. The rest of the album is superb including rousing versions of "My Love Will Not Let You Down", "Out In The Street", "Ramrod", "Two Hearts" which has great harmonization between Mr. Springsteen & Little Steven, a stirring "Lost In the Flood" and a powerful "Atlantic City". The album also contains two songs specifically written for the tour. "The Land Of Hope & Dreams" closed out most shows on the tour and in it Mr. Springsteen sings of a train that is open to everyone, saints and sinners alike, that will carry you to the promised land if you are willing to board it. The song has a driving beat and is uplifting. "American Skin (41 Shots)" is the controversial song about the police shooting of Amadou Diallo. In it, Mr. Springsteen assumes the voice of an African-American mother who cautions her son that even doing nothing can get you killed. The song is classic Springsteen and with it he shows that he still has his finger on the pulse of current events and his music not only entertains, but also informs and makes you think. It's hard to believe that it's been fifteen years since the release of his first live album, the sprawling Live 1975-1985, but Live in New York City shows that Bruce Springsteen & The E Street Band are still the best live act in music and probably the greatest of all time.

Q: What transforms a guy who formerly shrugged off Springteen into a die hard fanatic in one lighting-bolt of an electric moment?

A: THIS!

Or more acurately, the transfixing, jaw-dropping blow-out that is every second of "Tenth Avenue Freeze-Out."

And all of a sudden, I "get it."

Let me set the scene: I came home, dogged and tired, from work. I turned on the TV which, thanks to my roommate at the time, was tuned to MTV (I mention my roommate was watching because I despise MTV, both for what it has become and its contribution to; scratch that; its LEADERSHIP of, all that has become wrong with pop music today). And to add insult ot injury, who's video was on? Creed. Without getting off on a rant of what is probably a hundred reasons why, I'll simply say I hate f**king Creed! For the purpose of the story I do have to mention perhaps the biggest reason why: they are laughably fake in their stupid posturing and are poor performers at that. Their standard riffs and the laughable b.s. that is their overly-rightous lyrics simply enhance this disgusting sherade. So I let out a sigh of contempt, because I can't do a thing about their stupifying success, and move forward to HBO to see if I can catch a movie; and what's on? Bruce Springsteen and the E-Street Band Live in New York. Towards the end of a song (later I would come to know and love it as "Out In the Street") Bruce was prancing around the stage as the crowd chanted a chorus of, "Oh-oh-oh-oh!" I watched for a minute, smiled at the fun he and his band, whoever these guys are, were having, and decided to move on. Then a funny thing happened. All of a sudden there was a close-up of Bruce's sweaty face. His face red, he stood at the mic and shouted, "New York City!" The crowd screamed. He yelled it again. They screamed louder, drums thudering in the background. One more time: "New York City!!!" The crowd reached near meltdown. "Lets Go! One! Two!" A crisp piano plays the opening notes to "Tenth Avenue Freeze-Out," as the audience "sings" along to the melody. Bruce walks the stage, throwing his arms in the air, pointing at every section of the audience, an I-Mean-Business look on his face. I gotta see what happens. After a long work-up, he jumps off the piano he has now taken to, runs back to his mic, and again: "One, two, three, four!!!" The band busts full-force into the song and I am feeling something very exciting. As I watch Bruce rip through this song with more vigor, passion and flat-out rock chops than maybe anyone I've ever seen, I think to myself, now this is how it should be! This is ow its done! THIS is why I hate Creed and all their ilk! I flip back to MTV for a split second. Creed is still on (it must have been more than just one video - treat!). I flip back to Bruce. And back to Creed again. The difference is staggering. I'm flipping thinking, "rock star, douche bag. Rock star, douche bag." Back to Springsteen one last time and I say there. How could it get better. He hadn't introduced the band yet. After the band intro I was giddy with excitment from all the energy the was radiating out of Bruce, his band, the obvious love and comrodere between them; and the audience for that matter, and myself. The song is coming to a close, still at full force and Bruce, obviously tired, but somehow more vitalized than when he started, throws up his hand and yells, "Save me somebody!"

Amazing!

As it turns out, Bruce saved me. I finally understood why he is so popular. I never got the whole "Church of Springsteen" thing and never thought his biggest songs I heard growing up were anything so special. I liked them fine, but I like a lot of songs and artists. I only regard a handfull as beign something more; something special. Turns out I never gave Bruce enough of a chance.

My loss.

Since 2000 when this all went down I have become a die hard Boss fan. I have all the albums, I've been fortunate enough to see him a few times (thanks to "The Rising" and its tour coming right on the heels of my new found love and respect for the Boss as a performer and his lyrics), I've found quite a few songs that have inspired me in one way or another, I've gotten others into him and, God help me, I even karaoke his stuff. I consider myself on board with those who have been with him as far back as they can remember, because I feel like I have been too.

Tenth Avenue," which is roughly 3 songs from the end of the HBO version, was what drew me in. The concert would soon be over and, obviously, I had fallen hard. Both for Springsteen and this live performance. I was kicking myself for not coming to this realization sooner, but I could not wait to right this terrible wrong. I rushed out and picked up the DVD and watched it over and over. At the same time I bought the cd version and listened to it over and over. This, other than previously purchasing "Greatest His" in '95 when I was 16 (even as a non-die hard Bruce fan I knew then that it was severly lacking in many a great songs; I just didn't realize how many), was my main introduction to the Boss. Years later, I wouldn't have the introduction any other way. Knowing what I now know about Bruce, his songs in various versions, and his live performances, the stuff captured here ranks among his best. At least in terms putting someone-new-to-Bruce's jaw on the floor.

So after going back and listening to all Bruce's stuff, falling in love with much of it, and driving everyone crazy who doesn't share my fascination with him (although most who watch this and have heard some of the stuff I told them they just had to hear, do see what I'm talking about; even if it doesn't convert them the way it did me, they can see there is so much more to Bruce than they ever thought and now understand why he is a legen to so many), I can honestly say that "Live in NYC" improves on many of Bruce's best works. And that's not an easy thing.

I've read some people complain about a relative lack of hits and standards here, but what is here is as good as anything he has ever done. To see the setlist does not do the quality justice since Bruce improves on so much and does so much differently. Emotionally, every song benefits from his live energy. Besides "Tenth Ave..." standouts include "Atlantic City," which completely reinvents the song. Bruce's vocals are so tight, so emotive, they send chills. Ditto "Youngstown" and "Lost In the Flood." All three of these songs best their album versions here. Only the DVD contains performances of "Backstreets" and "Darknes On the Edge Of Town," and its a damn shame there wasn't room for them on the CD because they too fall into the better-live category. Again, its the emotion in both the vocal quality as well as the all around playing; from Bruce's guitar work to the band's playing as a whole. I've been trying to get these audio versions ("Darkness" apears on the "Waiting on a Suny Day" single along with "Thunder Road" and "Born to Run" from these NYC shows; but "Backstreets" remains MIA)

And I can't begin to explain his guitar chops on "Prove It All Night" and "Murder Inc." He is phenomenal to watch work that axe. Both the DVD and CD give all the guitar solos a big, blistering, stand out sound. You've never heard Bruce like this in the studio (this guitar-hero-greatness extends on an equal, and maybe larger, scale on the Barcelona DVD, if only because there are more chances for him bust it out on that set).

For that legendary E-Street comrodere, you can't beat "Tenth Ave..." here, but "Two Hearts," the super-chardged, cut-lose fun of "Ramrod," the block party that is "Out in the Street," and the emotional bond of "If I Should Fall Behind," are all a thing of beauty to behold - especially during this reunion phase. This crew needs eachother. Just look at Bruce's "Plugged" from his E-Street departure days - they are not the same apart. Yes, Bruce is a solo artist and the songs are his, but he is never better than when he is with his brothers (and first lady) at his side. Together they make his songs theirs - and ours. This is a band - not Bruce and some backing band. They are not replaceable. Even "E-Steet Shuffle," which plays over the end credits, sounds so good and so fun, I wish we could see the performance and I wish it were included on the CD.

So maybe there was a reason I had to stomach Creed after all. Oh yeah, and as far as this item, if I didn't mention it; get it! Both the DVD and CD.

It may just change your life.

Here is a pristine document of one of the finest working bands in the history of rock music, performing some of the genre's finest songs. The album serves as a great tour through the Boss's career, including absolutely killer versions of his best songs. The first three songs are great, but things really start to cook on track 4 with a stunning reading of "Atlantic City". The performance simmers and roars, perfectly complimenting the pathologly of rage, regreat, violence and despair within the song. The repeat of the chorus at the end with everyone singing is just chilling. They sound like ghosts. "Mansion on the Hill" is given a tropical treatment that plays up the wistfulness and longing in th tune... I could go on. A stone-cold killer version of "Badlands" with agonized backing vocals that need to be heard to be believed. An extended, almost slo-mo take on "The River" is just harrowing, an equally loose reading of "Jungle Land" later on is redemtive. Quite frankly, the band, the songs and Bruce have never sounded better. He is in top vocal form, adding some haunting, high-lonesome yodels to some tunes. Any one of the songs on these discs is almost worth the price of admission. If you are a fan, you'll need these mind-blowing versions. If you don't have any other Springsteen discs, buy this first. Every sonsg is better than the studio version. Esssential stuff.

The recording quality is solid, really replicating the sound and feel of the live show. You can hear every instrument and every vocal part. I recreates the sense of space and energy wonderfully.

In 1984 Bruce Springsteen's Born in the USA album sold 18 million copies. The man whose fans saw him as an avatar of the spirits of Walt Whitman, Woody Guthrie, Jack Kerouac and John Steinbeck was suddenly a pop star. And it wasn't by accident.

The songs slotted right into hit radio and commercial ambitions had put a close up of Mr. Springsteen's rear-end, in tight jeans, on the album cover. But the huge American flag that framed the shot of Springsteen's ... was there because Springsteen still hoped, in a Whitmanesque way, to persuade America to call itself to account for the distance between its harsh realities and its legitimating myths of freedom and equality.

But pop stars aren't taken that seriously and most people missed the point. The title track of Born in the USA is a radical critique of American society. But when Ronald Regan, whose conservative politics Springsteen loathed, used it in his election campaign, most of Springsteen's new fans didn't see the contradiction.

In 1995 Springsteen made a decisive break with hit radio and pop stardom with the visionary Ghost of Tom Joad. Inspired by Steinbeck's Grapes of Wrath, each of its deeply moving and politically radical songs is about people battling against the odds to make some kind of life for themselves and their families. The album manages to simultaneously mourn social injustice and affirm the resilience of the human spirit. And because Springsteen dispensed with sing-along choruses and laid his half spoken half sung lyrics over evocative soundscapes it's impossible to misunderstand the vision of the album.

But, while many critics regard the Ghost of Tom Joad as one of the greatest American albums ever, it was far too good for hit radio and didn't win a mass audience. Springsteen had not expected the album to be a commercial success but was pleased that it won back his original fans and inspired the best amongst the new generation, including Rage Against the Machine, who later covered the title track.

Now, seventeen years after Born in the USA, Springsteen has returned to a mass audience with Bruce Springsteen and the E-Street Band Live in the USA. The album entered the American charts at number 5, is still selling by the truck load and is rich with the choruses, riffs, melodies and borrowings from blues, soul, gospel and country that have given rock its excitement and popular appeal. But the album's often joyous and celebratory feel has not been achieved at the expense of any political or artistic compromise.

Springsteen, a man who thinks very carefully about every aspect of his work, has chosen to join The Clash and Rage Against the Machine by emblazoning his new album with the radical symbol of a five-pointed star. The five-pointed star is an ancient symbol of immanence, the idea that the sacred, or God, inheres in humanity, in the here and the now. An important part of the enormous spiritual power of Springsteen's work lies in his ability to transcend the division between the sacred and the profane by locating real value in the struggles, compromises, conflicts and triumphs in the everyday lives of ordinary people. His brings careful attention and real wisdom to the world of work, family, friendship and the jol. Springsteen's art, in other words, is grounded in immanence. And immanence is an inherently radical idea - because when God, America, The Leader, The Market or anything else is set up as a transcendent force above human life humanity is abased. Springsteen's political commitments may not have changed that much since Born in the USA, but in 2001 he's not allowing anyone to misunderstand or misrepresent his ethics.

This album features dramatically new interpretations of some of his best songs. If I Should Fall Behind is turned into an exquisitely tender duet with Patti Scialfa and there are rousing versions of Born to Run, Badlands and Tenth Avenue Freeze out; a stripped down and mournfully bluesy Born in the USA; a defiant and resolute Youngstown; a steaming Murder Incorporated; a version of Mansion on the Hill even more haunting than the original; a soaring Jungleland and an interpretation of The River which could raise goosebumps on the dead or, which is much the same thing, fans of hit radio. There are also a number of new songs, including the celebrated American Skin (41 Shots) which was written in response to the extraordinarily violent murder of an unarmed African immigrant by the New York Police Department. It has led to the NYPD calling Springsteen `commie scum' and refusing to provide any security at his shows. But it is an exceptionally powerful song and Rolling Stone were quite correct to advise their readers that this song, alone, is easily worth the cost of the double album. The slightly baroque `introducing the band' bit wears thin after a few listens. But that's a small price to pay for nineteen songs performed with rare passion, insight and musical brilliance.

I was fortunate enough to land two tickets to this tour. I had never seen Springsteen live before, but soon learned the legends are true. The E Street band is a phenomenon and each musician is phenomenal -- from Nils Lofgren to Little Stevie. As for Bruce -- If I have that much energy when I'm fifty, I'll be one happy man. This splendid recording captures some of that energy with a generous selection of songs from the HBO Special -- plus six more recorded at Madison Square Garden last June. While the recording quality was far better on Bruce's previous live set, the performances on this baby are more passionate and committed. It's the album your subwoofer has been waiting for. Granted, there are a few segments of the recording that may annoy listeners after awhile -- such as the band's endless lead-in to "The River" or the protracted version of "Tenth Avenue..." however, those who attended the concerts may actually relish these. Bruce's voice has become darker and more expressive with time -- and that only adds to the power of "The Land of Hope and Dreams" and "American Skin (41 Shots) -- two of the best songs this band has ever recorded -- and these are the first commercial recordings they've ever had. My gripes are few. With each concert running over 3 1/2 hours, I wanted the show to go on. Without question, this should have been a three-disc set and the sense of occasion suggests the notes should have been more elaborate too. That notwithstanding, I come away from this recording with the sense that except for these legendary musicians (and a few more who shall remain nameless) the best rock-and-roll has been here and gone. These dudes don't need fright make-up, sex, pierced navels, overdubs or all of the other dreck that's filled pop and rock recordings for the past decade. This music is pure emotion. The lyrics have the power to touch that part of the heart that rarely opens. These are songs about the wanderer, the disenfranchised, the seeker, the rebel in all of us. Do yourself a favor and give it a try.

Honestly, how clueless can you be? This set is the closest thing you can get to an actual Bruce show in passion, performance, and THEME.

Sure, a 16 minute version of 10th Avenue Freeze-out may seem long. But it was played that way in all 130+ shows of the tour. Why? because the "sermon" is central to the THEME of the show. Sure some people don't particularly like hearing the band sing during Out in the Street and If I Should Fall Behind... but it was done that way every night of the tour, because it was the THEME of the show. Bruce builds live shows very much like a story from beginning to end, with each element having importance. In this case, all of those things that some of the self-avowed "Bruce fans" have complained about are central; the theme of faith, friendship, and brotherhood is what made the tour special, and what I took away from the 6 shows I saw. In including those things, the set captures the essence of the show.

Some people have talked about song selection... this set is a pretty good collection as far as reflecting the tour... Two Hearts, Youngstown, Murder Inc., Badlands, Tenth Avenue Freeze-out, Land of Hope And Dreams, If I Should Fall Behind, and Born to Run were played every night. The remainder of the tracks are a good cross-section of material that rotated through the set, with a couple of rarities (e.g. the first Lost in the Flood since 1978) thrown in to round out the set.

Some of these comments on song selection are just so bad... one says that Badlands was omitted (actually, it's on disc one), and someone talking about the omitted acoustic Born to Run (uh, that hasn't been played since the late 80s (?)). Honestly, the only song I would quibble with is Mansion on the Hill... I just liked some of the other songs that held its spot more than it. Alot of the "hits" aren't on there because they don't get played anymore. Face it, he doesn't play Rosalita, Dancing in the Dark, or Glory Days. This isn't a nostalgia ride; it's the E Street Band sounding as fresh and relevant as they ever have.

I have to confess: this version of 10th Ave. Freeze-Out brought tears to my eyes. And for one simple reason. I never saw a concert of The Boss and his E-Street Band. They never came to Brazil to play. "Oh, they are too americans" people say here. Oh, what a shame. Music is an universal language and, listening to Bruce's live albums (I have all the four) and watching his dance with The Big Man Clarence Clemmons, the raising of hands of all the little preeties from coastline to the city, I was really able to understand the meaning of lots of things like companionship, musicianship, harmony, communion. Well, I wish I was a Jersey native to walk down the 10th Ave just to see Scooter and Big Man singing and dancing in the streets. Rock and roll are made of these moments.

It's not the set I'd hoped for, but I'll take it! Bruce played a bunch of stuff during the NYC stand that could have appeared on the disc, but we'll have to settle for "popular favorites" instead. Anyhow: "Land of Hopes and Dreams" is the high point of the album, it's incredibly uplifting, and it rocks, too! The guitar solos on "Youngstown" and "Murder Incorporated" should be used as teaching aids for anyone considering a future in a rock and roll band. "The River" is a countrified alternate to the studio version with a great falsetto at the end. "Tenth Avenue" is fun the first three listens, but (at sixteen minutes) you might find yourself skipping past it next week. "Lost In The Flood" reappears thirty years after its Dylanesque studio debut, this time with two tons of East Street Band behind it, and "If I Should Fall Behind" is a sweet conclusion to the set, with each of the band members taking a turn as vocalist. "Born To Run", "Prove It All Night", "Ramrod", "Badlands", and the others are great fun, and they really capture the energy of the performance, but we've heard them all so darn many times... oh well. Regardless, it's great listening (especially cranked up in the car), and there's some rock 'n roll history goin' on, too. Buy two, and keep one locked away for the grandkids.

The good is most of the songs. Not all but most. American Skin, Land Of Hope And Dreams, Jungleland, and others are excellent. The trifecta of Youngstown, Murder Inc. and Badlands rocks and is intense. 10th Avenue is fun, and Out In The Street is always good. The bad is what could have been. There are songs missng that should be here. Ties That Bind which was the opener at many shows should not have been left out. Backstreets played many nights is missing along with some gems that we would have killed to have on the collection. One song that does not fit is Don't Look Back. It is annoying and does not work especially where it is placed. Sometimes you have to wonder what goes on in the Springsteen-Landau organization. The ugly is the packaging. Terrible cover and the colors are even worse. The cover pic is not bad, but it could have been much more dynamic. My conclusion is anything from Bruce Springsteen is always great as he is my favorite artist of all time. There is no better performer on the stage. What could have been on this collection is what disappoints me. It is not a true live concert CD as it is more of a highlight of the tour CD. As always, I appreciate anything Bruce records and will listen to this over and over.

I saw one of the Oakland, California shows relatively early in this tour. I hadn't seen Springsteen live since the late 1970's. The Oakland show was wonderful beyond words; I waited a while before buying this album because I was afraid it would spoil my memories of the live show. I needn't have worried. He closed the Oakland show with "Land of Hope and Dreams" and I was delighted to find it here. He also gives us "41 Shots," which is as powerful as any song released by any artist in the last five years. Tracy Chapman will someday cover "41 Shots."

But mostly this is Bruce Springsteen, with the same energy and power he had 25 years ago, telling us and showing us that this far down the road he still believes that rock and roll can save us, can redeem us. He still believes music can change the world. At a time when it sometimes seems that no one believes in anything besides greed any more, that's a might fine message.

The old songs are rendered in new and interesting, sometimes powerful ways. Like Bob Dylan and Van Morrison, he is still experimenting, still trying to make each show fresh and interesting. Too few artists make the effort. I don't go to live shows or listen to albums of live shows to hear note for note versions of the studio tracks; I want to hear if the artist has something new to say. Bruce Springsteen will never, ever let you down; it always fresh, different and new.

Whether it's the whole band singing lines from "Wait for Me," transforming a love song into a pledge about the future of the E Street Band, or using "Tenth Avenue Freezeout" to preach the redemptive power of rock and roll, the old stuff is new.

"Land of Hope and Dreams," his closing number in Oakland, is a stunning reply to another song about sinners and trains, exactly analogous to Woodie Guthrie's "This Land Is Your Land," which fans will recall from the "Live 1975-1985" compilation. Bruce still makes you think.

And then there's "41 Shots," which some reviewers have criticized as 'too repetitive' in its constant refrain of the title; dudes, count the number of times it gets said. I get just about 41. You bet it's repetitive. But Bruce never does anything without a reason.

But the thing that struck me the most at the Oakland show and after listening to this album (other than this 51 year old's level of energy) is that the man still cares. He cares about this audience, he cares about the world and he cares about his art. And he's not afraid to let you know it. Buy this album.