I just listened up to and through "Out in the Street" and obviously it's a great show. Love how he's already laughed at least a handful of times. I've often though discarding the Darkness tour intro to "The Promised Land" was a bit of a bummer, but here I think it really would have helped the transition from "American Skin" — still a great segue, but I feel like the slower build-up would have been even more effective.
My one and only Reunion show was in New Jersey in 1999. And something I have a vivid, vivid memory of but which I've never heard on any official release that I can recall is that the first few lines, at least, of "Youngstown" had this wicked effective delay that possibly even ping-ponged around the arena. Did I just hallucinate that?
I had a night of four-pack plays: "ToL", "Be True", "Two Faces" and "Heaven" from Detroit '88; "Youngstown", "Murder Inc.", "Badlands", "Out in the Street" from this MSG show and finally "Spirit", "Atlantic City", "Open All Night" and "Nebraska" from NJ '84. Good listening! Where it concerns MSG, I agree that his enthusiasm is infectious and I still love that "Get back in those seats!" line at the end of "Out in the Street" maybe most out of the lot. Not too sure if I agree about the Darkness Tour intro for "The Promised Land" working best here though. I think the explosive intro better highlights the relief of the audience coming off of that intense "Skin", but I will definitely be listening to a '78 "Darkness" and '00 "American Skin" tomorrow to experiment this.
Obviously I wasn't there in '99/'00, but I know you're not hallucinating about the effective delay/ping-pong/vocal reverberation of "Youngstown", as a lot of BTXers have been complaining about it since the Philly release last July at least. There's even one on the GL release thread chastising Altschiller for ignoring it here - even though 'Bob the God' didn't include it on Live in New York City either.
Another poster on there claims:
That echo effect was never audible on any archive release, neither was it on Live at NYC which was mixed by Bob Clearmountain. This is an effect they only did on the actual live mix at the shows, it was never recorded on the multitracks though.
@Mario Brega That poster's claim seems believable to me based on the evidence. The effect is present on every bootleg from the tour I've heard, all of which are either full audience or audience/IEM sourced recordings. Yet it is missing on all official releases. I think if the effect was present on the original multi tracks, it would be hard to completely remove any trace of it on the official releases. (Certainly for the Nugs ones, where the cost and time invested on mixing each release would presumably be a fraction of that spent on the original LINYC DVD and CD). You would still hear some trace of it, especially on the higher res releases on good sound systems, but it just isn't there.
@Bosstralian I probably should have mentioned this when/after replying to Scott the other night, but I listened to it again and I swear I heard the faintest of echoes on this version. It's noticeable for me when Bruce sings "Ohio" (0:25), "'03" (0:27) and "Youngstown" (0:47), but that's about it and I'm certain it's nowhere near to the presence of the effect as you guys all heard it on the boots.
I'm not the biggest 'Mary Queen Of Arkansas' fan at all, but this version is quite beautiful. 'Back In Your Arms' is stunning!
But 'Loose Ends' is a real highlight for me! I absolutely love this song, and I consider it to be one of my all-time favourite outtakes and the band just nails this performance. I would kill to get this one live someday.
I was thinking today about the paradox of why I don't like Back In Your Arms. It's weird because I adore his relationship songs, and I have to say I like the bitter ones much more than the happily ever after ones. So in that context, BIYA is confusing me.
Perhaps it's too pathetic. Or it's because I'm not used to hearing Bruce beg... In other songs he's never asking the girl to come back, he knows he's fucked up and he's usually very passive or counterproductive in his misery (Reno, Dry Lightning..)
Anyway, I don't feel this song, and this version although beautifully sung, drags and drags and I'm always tempted to skip it but then decide not to and I suffer almost as badly as the narrator does.
@Mario Brega The lyrics don't particularly bother me, it's just that I think someone else should have sung it in order to make the song flourish.
Garh Brooks or Celine Dion are the first two that I can think of. The song itself is good, but I just think it doesn't suit his style. I'm aware this is just my perception, so as always I'm glad everyone seems to be enjoying it...
Re the tempo, is there any slower version than this one. It's like watching a slow motion scene in a soap opera... 🙂
The Tracks version is nicer, faster, and has a tiny shiny highlight - Max's drumming just after 'I met you with indifference, and I don't know why'
I just listened up to and through "Out in the Street" and obviously it's a great show. Love how he's already laughed at least a handful of times. I've often though discarding the Darkness tour intro to "The Promised Land" was a bit of a bummer, but here I think it really would have helped the transition from "American Skin" — still a great segue, but I feel like the slower build-up would have been even more effective.
My one and only Reunion show was in New Jersey in 1999. And something I have a vivid, vivid memory of but which I've never heard on any official release that I can recall is that the first few lines, at least, of "Youngstown" had this wicked effective delay that possibly even ping-ponged around the arena. Did I just hallucinate that?
I'm not the biggest 'Mary Queen Of Arkansas' fan at all, but this version is quite beautiful. 'Back In Your Arms' is stunning!
But 'Loose Ends' is a real highlight for me! I absolutely love this song, and I consider it to be one of my all-time favourite outtakes and the band just nails this performance. I would kill to get this one live someday.
Loving this show. Great energy. Odd choice to have the start of Promised Land tacked onto the end of American Skin... But hey...
I was thinking today about the paradox of why I don't like Back In Your Arms. It's weird because I adore his relationship songs, and I have to say I like the bitter ones much more than the happily ever after ones. So in that context, BIYA is confusing me.
Perhaps it's too pathetic. Or it's because I'm not used to hearing Bruce beg... In other songs he's never asking the girl to come back, he knows he's fucked up and he's usually very passive or counterproductive in his misery (Reno, Dry Lightning..)
Anyway, I don't feel this song, and this version although beautifully sung, drags and drags and I'm always tempted to skip it but then decide not to and I suffer almost as badly as the narrator does.