Wednesday, 29 March 2017

Bruce Springsteen [1996.03.13] Cirkus Night [EX-AUD]




Bruce Springsteen
'Cirkus Night'
(1996 Crystal Cat Records : CC 392-93)
Solo Acoustic Tour
The Cirkus, Stockholm, Sweden
Wednesday March 13th, 1996


Excellent Audience Recording
Encoded: 320 Kbps MP3

https://www.discogs.com/Bruce-Springsteen-Cirkus-Night/release/2640811
https://brucebase.wikispaces.com/1996-03-13+-+CIRKUS,+STOCKHOLM,+SWEDEN
http://www.setlist.fm/setlist/bruce-springsteen/1996/cirkus-stockholm-sweden-53d6c335.html

Track List: (Artwork Included)
Disc 1:
101. The Ghost Of Tom Joad
102. Adam Raised A Cain
103. Straight Time
104. Highway 29
105. Darkness On The Edge Of Town
106. Johnny 99
107. Nebraska
108. Dead Man Walkin'
109. It’s The Little Things That Count
110. Sell It And They Will Come
111. Brothers Under The Bridges
112. Born In The USA
113. Dry Lightning
114. Reason To Believe
Disc 2:
201. Intro/Storyteller
202. Youngstown
203. Sinaloa Cowboys
204. The Line
205. Balboa Park
206. Across The Border
207. Bobby Jean
208. This Hard Land
209. Streets Of Philadelphia
210 .Galveston Bay
211. The Promised Land
212. The Wish (Spektrum, Oslo, Norway; Mar. 14, 1996)

Said to be “The best recording of the entire ‘96 tour”

Karen Schoemer, Newsweek, April 1, 1996:
Bruce Springsteen is about to put on a very intense performance for a very demanding audience: himself. At 6 on the night of his solo acoustic show in Stockholm, he walks out onto the stage for sound-check at the Cirkus, an 1,800-seat hall on the European leg of his “Ghost of Tom Joad” tour. The stage is bare. The only props are a mean little army of black Takamine guitars, lined up 13 strong behind a curtain, each tuned differently, yet each with an identical polish on its identical hollow body. Springsteen’s guitar roadie and keyboardist, Kevin Buell, places four or five in a neat, protective semicircle around the microphone. Springsteen picks one up. He strums it a few times. Then he softly finger-picks the opening notes of “The Ghost of Tom Joad.” About halfway through the song, he stops. “There’s a different sound in here,” he muses. “It’s kinda cool.” He listens intently to the fading notes, to the empty room, to the silence.
He plays a couple more songs, trying out the different guitars, sorting out the different reverberations they make. A photographer creeps along the far reaches of the loge. He’s been instructed not to get too close to the stage; the clicks of the camera will distract Springsteen’s obsessive quest for perfection. He plays “Sinaloa Cowboys,” another harsh, strained breath of a song. Midway through the first verse, the guitar emits a honk of feedback. Springsteen tries it again, and the feedback honks again. He tries playing the second verse, and it honks at the same place in the chord progression. “It’s a funky note,” Springsteen mumbles. “See if I can isolate it.” He moves the capo on the guitar’s neck, changing the key. Then he changes the key again, and a third time. “It’s just that one E flat, for some reason,” he says. The false note is banished. This isn’t just a sound-check; it’s an exorcism. -Original

1 comment:

Note: only a member of this blog may post a comment.