Jungleland

Jungleland is often on rotation for me as top song, interchanging with Youngstown. Jungleland is not so much a song, but a journey, filled with magical characters and imagery. The song is actually about crossing over the bridge from New Jersey to New York, but it can allows the listener to interpret what they please. Jungleland is the last song on Bruce's breakout Born To Run album and is definitely a concert favorite.

Pre Born To Run Release: Jungleland was played in concert as a cookie cutter version of album track. This version is a GREAT listen for more than casual Bruce fans. You can literally see how the song was born. This version has alternate vocals all around (which I won't detail on this blog but you can have a listen for yourself: see Live At the Main Point 1975). This version also includes a saxophone solo where the guitar solo currently is, and a guitar part where the saxophone currently it. The bass on this version is also prominent and excellent.

1975-1976: This is the first time Jungleland was performed in its BTR album form. Some of the better versions are from Hammersmith Odeon (see Hammersmith 1975). These versions were usually well received from fans (given that it was from the new album) and usually played later in the sets. Not much stands out much from the album track on these versions except for the long and drawn out ending verse following the sax solo. Stevie always plays the main guitar solo, with Bruce rarely using a guitar for this song.

1978: Things start getting a little more interesting with the vocals in the Darkness Tour version of this song in regards to where Bruce emphasizes the words. Examples of this are towards the "DESPERATE as the night moves OOooOONNN" and towards the end instead of "and man the poets down here don't write nothin' at all!" he opts to say "and MAN the poets down here don't write NOTHIN!!!" (see Passaic Night 2). Stevie changes up the solo a bit, which I prefer to the previous tour. Also this is the first time Bruce asks for audience participation "as we take our stand! (SAY IT NOW!!)" and lets the audience yell out Jungleland. Usually played around the middle of the set or towards the end.

1980-1981: Similar changes occur to the River Tour Jungleland. Same basic song, new emphasis on vocals. Overall you'll just have to give this one a listen, there are subtle differences all over the place. I'm not saying none of them are significant, but there are so many that it's hard to put them all here. The solo on this version, I think, is the best one of any tour. It's much faster and includes some more technical guitar work. Of course like I mentioned above, the song goes through constant vocal (not lyrics, let's make that clear) changes. A few specifics occur in the verse before the sax solo (see Live In Uniondale 1980). 

1984-1985: I've always found it strange that songs like Jungleland and Racing in the Street were actually played during the BITUSA Tour. I'm certainly not complaining at all, but these deeper, more storytelling songs just don't seem to fit in with the tour's style. It's tough to say this, but this song is a little uninspired during this tour. It's still a great jam, but it's just lacking something and I can't quite figure it out. The band hits every note perfectly, but it doesn't seem intimate enough, the BITUSA Tour is meant for loud rockers, not really the style of song that Jungleland is. I will say in a few versions (see Philadelphia Final Night 1984) Bruce has some great vocals when he yells out Jungleland the second time before the guitar solo. Nils Lofgren plays this solo and starts it off pretty lame if I say so myself, but then turns it around and plays the rest in true Nils fashion...great version of the solo. 

Reunion Era: During the Reunion Tour Jungleland was played fairly regularly towards the end of the set. The 2000 versions are great. I love during the first Jungleland, Bruce yells for the crowd to "SING IT!!" but Bruce also yells out Jungleland too, but you can hear the roar of the crowd almost overpower his own voice in the background, it WILL give you goosebumps (see Live In New York 2000). These versions of Jungleland are fairly slowed down (as most songs do) but still hold significant power. Stevie is back on the solo. After the Reunion Tour Jungleland became a treat for fans, rarely playing it much. It got a somewhat of an every other night appearance during the summer of 2008 and again during parts of the Wrecking Ball Tour, but it was still considered a rarity and only played once in the U.S. during the most recent High Hopes Tour. I think part of the reason it isn't played as much is because Clarence died and now Jake has to play the sax solo (which isn't bad by any means) it's just different now.

Future of Jungleland?: I think he should keep it as a rarity in the coming tours. It makes it more special when you hear it. (But please play it when I come see you!!!! I've yet to see it)

Youngstown/Murder Incorporated

I obviously have to include this one because it's my favorite Bruce Springsteen song (Youngstown). This is a double song because TYPICALLY (not always) Bruce will play these songs back to back. I also figured I should take it easy on the second post because that Badlands one was so long and these songs don't have as much history, or variation.

 

Youngstown

1996-1997: So Youngstown is from The Ghost Of Tom Joad album which is mainly acoustic. It made it's debut during the GOTJ Tour. During this tour it was played basically in it's album form, on acoustic guitar. Great lyrics to this song, but if you're in it for the music, this is just your standard acoustic track, nothing too special in the arrangement (see Live in Youngstown 1996).

Then it happened...

My ears were not ready for the full band arrangement of Youngstown, A little back story...I used to be Bruce's biggest hater, in a half loving way. I knew he was good, and I knew many of his lyrics from hours of car listening with my mom, and in fact I didn't HATE anything he did, I was just determined to not like him for whatever reason. At the time I was big into classic rock and jamming out to guitar riffs and solos. While Bruce is classified as classic rock, he just didn't quite fit the typical classic rock mold. I blame a lot of this opposition towards Bruce on one of his biggest fans...my mom. She wanted me to like him so much, but didn't cater to my listening needs. She would play all the songs SHE liked (very little guitar, softer, slower songs) when I wanted to hear raging guitar and rocking out. As far as I knew though, Bruce didn't have songs like that, because my mom always skipped them in the car. If she had played me a live Darkness concert, I would have flipped.

Anyways, back to Youngstown. My friend Kyle and I used to go on this website that would compile lists that ranked; guitar solos, bands, songs, guitarists, drummers, basically anything to do with classic rock. They had a list of "Best Live Guitar Solos" which included (to my surprise) a Bruce Springsteen song - "Youngstown - Live In New York City - Nils Lofgren". I knew my mom owned that DVD and also made me watch it every Mother's Day or on her birthday but I never heard anything guitar solo list worthy. I demanded an explanation from her and she replies "Youngstown? Ew, I always skip that one...too dark and angry for me." So then I did something I never thought I'd do...pop the Bruce Springsteen Live In New York and watched all by myself and discovered what could possibly be the greatest song to ever grace my ears.

1999-2000: I'll start with the 2000 version because the Live in New York version of Youngstown is the first I ever heard (see Live In New York City 2000), and still ranks up there in my favorites. The powerful first note sets the tone for the rest of the song. The whole song evokes power and drive that can energize and determine me at any time despite its dark nature. Youngstown was a staple in the very middle of the Reunion Tour sets and was the beginning of a force of songs to be reckoned with (Youngstown, Murder Inc, Badlands, Out In the Street, Tenth Ave.). The 2000 version is a little more cleaned up than the 1999, but the better production makes it great. The vocals are pure and well thought out without any 90's Bruce accent or echo effects on the mic. When Bruce belts out the "chorus" it's "here darlin' in YOUNGSSTOWWWNNNNNNNNNN!" (which is different from 1999 and will be explained later). That scream always hits me and send shivers down my spine because you know this electric version is going to take you on a ride. One of my favorite parts of the song is when it quiets down and all you can hear is the tambourine, a slight accordion, and Nil's mystic guitar picking. A low feedback shriek almost always comes from the amp during this part which just adds to the amazingness of the song. My favorite lines always hit me hard towards the end "when I DIE I don't want no part of heaven, I not two heavens worth WAIT! I pray the devil comes and takes me to stand in the fiery furnace of HEEEEEEEEEEEELLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLL". Ok that "hell" seems excessive, but once you listen you'll realize it's not. I often struggle to keep my voice going for as long as Bruce does when singing along to this. This scream sends the song into what I'm ultimately waiting for...the mastery of Nils Lofgren on guitar...the thing that online list was talking about...the guitar solo. Nils blitzes into the solo with searing scales and then takes the songs to the heavens as he pours all his energy and emotion into this one solo. Bruce seems to feed off that as he slams his guitar against himself pumping up Nils and the whole band. You can tell that the song has truly taken over the band and that's what really drew me to love this song, they don't play it that way because they want to, they do it because they HAVE to. Nils drops to his knees as he busts out the build up to the end of the song and then explodes into the screaming final notes as he gets up and begins spinning in circles on the stage sending the crowd into a frenzy of disbelief as to what they just saw. The song ends in typical slamming guitar fashion as Nils plays a few more notes as the solo dwindles.
1999: There aren't a whole lot of noticeable differences in the 1999 and 2000 versions of Youngstown to the casual Bruce fan. First of all, it's worth noting that 1999 was the first full band version, thus very experimental. This is significant because of the huge overhaul the song got. It isn't just a jazzed up version of an acoustic song, this is a full blown re-orchestrated version of the song. The 1999 version (as noted above) is rough and raw in comparison to the 2000 version. It's not cleaned up, therefore you get a little more emotion out of it that I really like. There's also a prominent echo on the vocals that sounds crazy. The other final difference that is the kicker for me is instead of "here darlin' in YOUNGSSTOWWWNNNNNNNNN!!" it's more like- "here darlin' in YOUUUUUNNNNNNNNNNNNGGGGSSSSTTOOOOOOOOOWNN!! (TOWNNN *echo) he drags out the young so much more, and while I seem a little too obsessed of a fan when I talk about these differences, but trust me, when you hear it, you'll know...it'll knock your socks off (see Live in Cleveland 1999).

Post 2000: After the Reunion Tour, Youngstown exited the regular spot on the set list and didn't start appearing more frequently again until The Magic Tour. On this tour the arrangement was very similar to that of 2000, same pounding vocal, mysterious guitar and accordion, and of course that melting guitar solo. I was fortunate enough to see Youngstown live in Richmond, VA 8/18/2008, and nearly cried when I heard the first notes. In the most recent tour (High Hopes Tour) the song seemed to pop up the most times throughout the tour since the Magic Tour.

Murder Incorporated

The final notes of Nil's guitar ring out as Bruce continues to pound his honey burst Telecaster against his chest, letting the feeback go wild from the amps. Max eagerly looks on and awaits Bruce's cue. One look from Bruce and Nil's is sliding from the bottom of the neck to the top and Max pounds the snare....and so begins Murder Inc.

Murder Incorporated is Youngstown's brother, 90% of the time they come one after the other which is curious because they don't seem to be related at all. Occasionally they are separated, but very rarely. It first appeared (just as Youngstown did) during the Ghost Of Tom Joad tour as an acoustic number, but came from a very different place. Murder Incorporated was an outtake from the Born In the USA album, and was released on Bruce's 1995 Greatest Hits album (ironic that the song was not really heard much before). The only reason I can think of for this song following Youngstown is because of their ties to the GOTJ Tour (which was the most recent tour Bruce did before the Reunion) and maybe he wanted to treat the audience to two songs they may have previously heard acoustic, all suped up into full blown electric songs.

1996-1997: As stated before, Murder Incorporated was just another acoustic song played during the Ghost Of Tom Joad Tour, not much special, but it's a decent listen if you've heard the electric version first.

Reunion Era: Murder Incorporated is somewhat of a 180 from Youngstown, following the latter in the majority of sets. Once you get Youngstown, you can almost bet that the tortuous, gravely vocals of Murder Incorporated will follow. Staccato'd chords ring out as Bruce lets out a yell slightly away from the mic. Next comes the thing we all love "ONE, TWO, THREE, FOUR!!". The band kicks in as the chords continue, accompanied by a groovy organ. The song utilizes a lot of background vocals as well as guitar solos all around from Nils, Bruce, and Stevie. The climax of the song is the best part. Bruce tires himself during the third verse with word after word mushed together as if it was a run-on sentence, building and building to the band coming to a complete halt after "But I can tell that you was just...frustrated...with livin with..." then Bruce gives his last scream that cuts you like a knife..."MURDER INCORPORATED!!!!!!!!" The crowd roars for the showmanship and feels out of breath themselves. The song typically ends with dueling guitars between Bruce and Stevie, clearly showing that Bruce has improved his skills over the years, while Stevie's has definitely dwindled, usually opting for a one note solo, just bending the string up and down to change the pitch slightly. All of this organized chaos comes to a cymbal crashing, guitar pounding end, only to blast straight into Badlands (Reunion Tour)...it's a wonder how they do it. In later years, Nil's solo has sometimes been eliminated, yielding to just Bruce doing the guitar work.

The Future Of Youngstown/Murder Incorporated?
I could see Bruce continuing to separate these songs in concert as opposed to playing them back to back. It's a big time commitment in the set to play both in a row. I think the arrangements will generally stay the same, but if Tom Morello continues to be a big part of the E Street Band, I could see him possibly getting a solo in there as well (on either song).

Badlands

Kicking this blog off with one of my favorite songs (especially live). Badlands.

1978: Some of the best versions of Badlands out there. Usually opened the Darkness Tour sets, followed by either Streets of Fire or Night (killer transition into Streets). If it doesn't open, an assortment of covers (Summertime Blues, Good Rockin Tonight, Rave On, Oh Boy, or High School Confidential) will open, or sometimes Night.

This is the fastest version of Badlands and it starts off with 3 slamming chords (E,D,B I believe). Bruce absolutely tears into the song, his guitar blaring with overdrive over the rest of the band (see Passaic Night 1). His voice (as with most songs on the 78 tour) is mean and tough and he always lets out a shriek at the end of "I don't give DAMN!" I like how you can tell throughout the song when Bruce turns his guitar on because of the volume change, especially before the solo. The solo is searing (due to the overdrive) and descends into a plucking rhythm for the slower part following. The song ending leads to Bruce again shrieking BADLAAANNDSS over and over and of course my favorite E string up and down slide.

1980-1981: Very interesting change for Badlands during the River Tour. First of all, The River tour is considerably less raw (compared to 78) and got a heavy dosage of less overdriven guitar. That overdrive is something that I love, but it certainly doesn't detract me from loving most songs on the tour, Badlands included. 

The most interesting part of Badlands on the River Tour is the intro. The 3 chords during 78 is replaced by a piano intro (Once Upon A Time in the West, I believe). This intro was not used during the beginning of the River Tour and also not always towards the end, but I'm just gonna classify the River Tour Badlands as having a piano intro. The intro is quite lengthy, taking almost 30 seconds before the count off. As mentioned before, the guitars are toned down this tour, but that doesn't stop the band from ripping this song, putting a charge in the show after following the slower, mellower, The River (see Uniondale New Year's Eve show). I find it interesting that Badlands typically was sandwiched in between two less heavy songs (The River preceding, and Thunder Road following). The tough guy vocals and shrieks are absent from the River Tour Badlands, but he is definitely charged up and delivers powerful vocals. The solo leaves me with a little something to be desired. It seems buried in the mix of the band and it certainly doesn't hold up to Clarence's following solo (like it does in 78). It's almost as if he's using the rhythm setting on his Tele as opposed to treble. Two final differences in the River Tour Badlands is Bruce's tendency to shout after "baby I got my facts, learned real good right now"... "now LISTEN!!" instead of the usual "GET EM STRAIGHT! (or a variation of that)". The final change to Badlands that was sort of present previously, but really stands out this time is Stevie's vocal harmonies at the end of the second verse...but really...go listen to the version linked above and you'll see, it's awesome.

1984-1985: The Born In the USA Tour (BITUSA) definitely had an overall distinctive sound that sort of encompasses every song. Obviously the BITUSA album songs get their own special treatment such as the long Cover Me intro, Glory Days speech, and No Surrender acoustic. The old songs however, basically get "BITUSA-ized" with loud fanfare synthesizers, drum machine triggers, and bombastic vocals.

It may seem like I'm being critical of the BITUSA Tour, that is not the case at all. I love listening to BITUSA boots, and Badlands is a great spot in the set. Nothing really stands out however, other than the BITUSA-ized sound. Badlands was a song I think at this point in Bruce's career that just needed to be played in its core form and didn't need anymore tinkering (see Philadelphia Spectrum 1984 show). Not much else to say here except that when a BITUSA era Badlands comes on my shuffle...you can really tell it's BITUSA Tour.

1988: Ok to be honest...I ashamed to admit this, but I actually don't have any bootlegs from the Tunnel Of Love Tour with Badlands on the setlist. (Note to self...go get some!). 

Had to go to YouTube for this one. One thing that's back is the 3 chord intro. The only real differences are the intro, the harder vocals compared to BITUSA Tour, and a cool piano medley during the slower part (see Live in Germany 1988).

1992-1993: Different band, so the sound is a little different. Also the count changes from "One! Two!" to "One. Two. Three. Four, One! Two!". 

Excellent versions of Springsteen songs on this whole "Other Band Tour" and Badlands rocks. No Clarence means Bruce's new guitarist gets a solo after Bruce's typical one and he's not too shabby. Also, the crowd interaction that I've come to know and love during Badlands makes its debut on this tour. During the slow parts the crowd chants the spine tingling "WHOAAAA WHOaaAAAoooOOOAAAA". Bruce eggs them on the whole time before going into the final verse. Another background guitar solo is added during the outro (see Live in Stockholm 1993).

2000-2014: This encompasses all of the Reunion Tour and post Reunion Tour versions of Badlands with the exception of 2008 Magic Tour (I'll explain that later). Badlands appeared all over the setlist during these tours. Sometimes would open or be early in the setlist, and sometimes it would close out the main set. This position is my favorite because the audience chants would carry all through the couple minutes before the encore starts. The powerful "One! Two!" sends crowds into a frenzy (but seriously...WOW) with the guitars pounding into the main riff even more so than in the "olden" days. The main addition to the song during these years is the audience participation. It occurs in the slow part after the sax solo as well as during the outro. The other awesome part of the song is the false endings where the song appears to end, but then the bass drum starts kicking as the rest of the band quiets down, and Bruce's guitar begins blaring out a string picking E, A, and B chord all while the crowd roars out the "WHOAAAA WHOaaAAAoooOOOAAAA". Truly epic.
2008: During the heat of the summer months of the Magic Tour Bruce and the band were rolling out killer show after killer show, each night's setlist crazier than the last (fortunately I was able to catch one of those shows in late August in Richmond). Anyways, Badlands was better than ever and feeding off the crowd's wild energy, Bruce would do the false ending twice. So after the first ending the crowd just assumed the song was basically over, but then he would just crank those chords out again, making the crowd go nuts (see Richmond 2008 awesome video, I was there too!).

Future of Badlands?
For coming tours I could see Bruce keeping things just the way they are with the recent tours, although, I could also see the 3 chord intro coming back, but I expect to see it in similar spots in the set list.

Welcome

Welcome to my new blog! This probably won't be read by many people, but it will also serve as a reference for myself.

So the point of this blog is to keep track of all my thoughts on Bruce Springsteen songs as I download bootleg concerts. You see, Bruce Springsteen has been touring since early 1970 all the way to 2014, and each tour, many of his songs whether they be staples or not, usually gets a makeover (for better or for worse). Bruce is a great artist that is capable of turning one song you may not have favored, into your favorite song ever by either adding an ad lib, guitar solo, extra verse, or just totally different musical arrangement in general. This is a huge reason for fans to keep coming back for more...at least it is for me.

So anyways, with this blog I intend to write about a random assortment of songs and talk about the different variations year by year, the order it's played in the setlist, and any other things that may pop into my head about it. It could be boring for you, but I love this stuff.