Friday, September 21, 1984 The Capitol Times Page 7
Th B thrills Liberty Town
before he joins in on the
vocals. From this the show
continues upward in emotion
with "Dancing In The
Dark." As in the video,
Springsteen pulls a young
girl from the audience to be
his onstage dancing partner.
The highlight of the se
cond set, however, is the per
formance of the latest single,
"Cover Me." The song takes
on an entirely new identity in
concert through the use of
reverb- and voice delay
systems. After hearing this
version, listening to the
studio cut is difficult and
boring.
In reviewing the basic
technical aspects of the con
cert performance, it is hard
to find even minor faults.
Among the many strengths
of the concert are the lighting
and actual performance.
Lighting for concerts often is
planned according to the
elaborate or simple messages
contained within the songs.
The lighting design for the
show does not overwhelm
the music but is still very ef
fective in creating mood.
The performance from
beginning to end is an
abolute pleasure from a
musician's view. The band is
very tight, a - term-defining
how well the musicians work
together, and is working with
good arrangements. The live
versions of most songs are
close to the studio cuts;
however, they are filled with
many interesting twists.
Also interesting from a
musical standpoint is the
transition from one song to
another. Springsteen uses
some of the slower, more
obscure cuts to entertain the
crowd but also to let them
rest. Most of the obscure
By Don Strausburger
It's a seemingly normal
Wednesday evening in
Philadelphia. Normal, that
is, except for the Spectrum.
At 8:30 the lights in the
sports arena go out and
20,000 spectators begin a
deafening scream.
"BRUUUUUUUUCE!"
The stage lights go on and
each person shouts his own
form of approval. Bruce
Springsteen, along with the
E Street Band, is once again
playing to a packed house in
Philadelphia.
On this night, the second
of six sold-out shows at the
Spectrum. Springsteen takes
the crowd on a musical
journey from the early days
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of "Rosalita" to the current
success of "Dancing In The
Dark" and "Cover Me."
Not only does the music span
over an eleven year period,
it appeals to an audience
ranging from teens to middle
age.
From the concert's open
ing, "Born In The USA,"
the high-energy title cut of
the new album, to its final
encore, featuring "Twist
And Shout" by the Beatles
and his rendition of the
"Devil with a Blue Dress
On" medley, the crowd
cheers, sings, dances and oc
casionally reminisces.
For artists who have sur
vived over many years, the
music selection for a tour
promoting a new album is
very interesting. The spec
tator wonders how many of
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the old standards will be
heard as opposed to the new
hits. The Springsteen concert
handles the problem by
simply making the show long
enough to satisfy everyone;
in this case, a four-hour
show broken into two sets.
The first set takes you up
and down an emotional
rollercoaster with blazing
themes like "Out In The
Streets" and haunting tales
like "Atlantic City." The
first set ends with an inspir
ing version of "Thunder
Road," leaving the audience
hungry for more of what
they have already seen.
And more is exactly what
they get! Springsteen returns
after a short intermission to
do "Hungry Heart" in
which the crowd sings the en
tire first verse and chorus
per month
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cuts come from his next-to
last album, Nebraska, a
critically acclaimed but com
mercially unsuccessful
album. The songs do serve
their purpose and are even
enjoyable.
Among his many talents,
Bruce Springsteen has the
capability to make an arena
as large as the Spectrum very
intimate. He frequently and
comfortably talks with the
crowd about past experiences
and occasionally discusses
the derivation of his music.
The E Street Band con
tinues, after eleven years, to
be the staple behind Springs
teen's charismatic
stagework. With one excep
tion, the backup band re
mains the same with the key
figures being Roy Bittan on
keyboards and Clarence
Clemons on saxophone. The
one major change is the
departure of Miami Steve
Van Zandt. Miami Steve has
been replaced by Nils
Lofgren who gives Springs
teen a chance to spend more
time away from his guitar.
Springsteen now has more
freedom to dance around
and interplay with the crowd
than in past tours. Lofgren
also adds flair and freshness
to the solos in sonis lke
"Jungleland."
With sittan, clepyrk,s,and
Lofgren, "Jungleland" con
tinues to be one of the best
live cuts done. Between the
haunting lyrics and outstan
ding solo work, the song af
fects every person who hears
it in one way or another.
If you have not been able
to see the Springsteen tour,
you still have one chance.
The tour moves to Pitt
sburgh this month so if at all
possible, don't miss this
concert.