{FREE} Bruce Springsteen: Two Hearts, the Story

BRUCE SPRINGSTEEN: TWO HEARTS, THE STORY PDF, EPUB, EBOOK

Springsteen's recordings have tended to alternate between commercially accessible rock albums and somber folk-oriented works. Much of his iconic status stems from the concerts and marathon shows in which he and the E Street Band present intense ballads, rousing anthems, and party rock and roll songs, amongst which Springsteen intersperses long, whimsical or deeply emotional stories. Springsteen has long had the nickname " The Boss ", a term which he was initially reported to hate but now seems to have come to terms with, as he sometimes jokingly refers to himself as such on stage. The nickname originated when a young Springsteen, playing club gigs with a band in the s, took on the task of collecting the band's nightly pay and distributing it amongst his bandmates. Show us your talent, perform Two Hearts Chords! Here you can post a video or audio performance. Tell me more Here you can post a video of you playing the Two Hearts Chords, so your fellow guitarists will be able to see you and rate you. For this book Marsh has written a new chapter covering major developments in Springsteen's career to today, particularly focusing on his album The Rising and its impact on American culture. Until Springsteen writes his autobiography, this book will stand as the best single introduction to a major force in American culture. Matthias N. He was a founding editor of Cream, and worked for Rolling Stone as associate editor from His articles have been syndicated in over newspapers, and appear regularly in major journals from Playboy to TV Guide. Springsteen at his most dramatic and deliberately cinematic. Pure pop for modern people. He loosens up even more in the last verse, just after a warm and bubbly sax solo from Clemons. It more than succeeds. Springsteen has a habit of writing songs for other people, then liking them so much he hangs on to them. The E Street Band is perfectly dialed into that groove, but Bruce plants it firmly back on his side of the road with sharp, incisive guitar solos that slice right through the beat. A full-throttle rocker, the kind of song that the E Street Band eats for lunch. Initially an outtake from Born in the U. Springsteen delivers the best of his street- hipster cool alongside a musical arrangement that does the story justice. Just so much fun. Springsteen has a special knack for capturing the ritual of getting ready to go out on the weekend. It was a ferocious, note- perfect tribute. Springsteen gave this one away, folks. He wrote it and gave it to Southside Johnny, who recorded and released a fine version , to be sure. Southside is more Otis, Bruce is more Sam Cooke. The E Street arrangement is jazzy, dominated by piano, organ, cymbals, finger snaps, and the best part, the band singing on the choruses. His voice is filled with a mixture of resignation and desperation, which crashes against a frantic, agitated, full-on rock performance. His voice carries exultation and relief, buoyed by ringing, heraldic guitar chords. Yes, the synthesizer comes in eventually, but the guitar and vocals are righteous enough to overlook it. Anyway, the big, the big thing that these records had, you see, was that on it the audience was at least twice as loud as the band. When it moves you! It ranks as high as it does for two reasons: the power of the actual song, and how it absolutely improves any concert set list. Springsteen openly admitted that he stole the title of this song from Roy Acuff, but he liberally borrowed other elements from country music as well: the melody, the organ riff, and the stark brutality of the story. After such an intense, emotional experience, the listener needs to breathe and recover. An unflinching portrait about hard choices, family ties, and our essential humanity. This one hits you right in the gut. In , Springsteen offered an unexpected explanation : He used to drive by one of his childhood houses all the time, and when he started seeing a therapist, he asked why he was doing it. Something went wrong, and you keep going back to see if you can fix it. Plus, a decent guitar solo covers up the worst of the production garbage. Bruce spits out the words, while Nils Lofgren strums big, melodic chords. This one still comes out on tours when he wants to make a particular point, but nowhere near often enough. This is the dark horse of the record, which is a pity. It sounds more modern, with an almost Gaelic atonal chanting of the first verse. Springsteen creates an entire world in less than five minutes. Buon viaggio, mio fratello. The drum roll is fast-paced until the entire band comes in on the midpoint, and then once again before they break for the guitar solo, so elegant and full of tension. I always appreciated the balance of its construction: In the second verse, Johnny walks out on Mary Lou; in the fourth verse, a man gets stood up at the altar, subverting expectations. This River outtake is one of the great lost Springsteen songs. Bruce sings his own counterpoint coming out of the left channel. At the end, the song kicks into another instrumental refrain, with Weinberg driving the beat for a few seconds before a melody swings back for the true reprise. A deliberately overwrought song. Springsteen toggles convincingly between world-weary and strung-out before blasting unrestrained into the choruses. Federici backs all of this with solemn, churchlike chords, and the whole band comes in swinging. Bonus points for the tightly wound guitar solo. The most interesting, forward-thinking, experimental song of the post-reunion era. And somehow, it still has bona fide ties to everything that came before it. Even though he ultimately asked Michelle Moore to handle the rap verse. It soothes your heart and uplifts your spirit, which is exactly what gospel is supposed to do. If you swapped out the references, this could be any tale of a man falling afoul of the law, getting trapped by his own mistakes. You can easily imagine hearing it next to a campfire, sung by a lone cowboy roaming the Plains with a guitar strapped across his back. Springsteen played it solo acoustic in the Enormo-domes on the Born in the U. The horns are hot from the first note, the guitar intro is already on fire. The gauntlet is immediately thrown down. When performed live, though, the song becomes something else. Federici was in his element in those moments, playing with an energy and a deftness that broadcasted his instinctive, deep-seated feel for the music. The lyrics are concise and precise; the images evocative and heartrending. The E Street Band are sounding the goddamn alarm, telling you to wake up and pay attention. The guitars are a combustion engine, driving the energy up and pushing the song forward. The most breathtaking moment is the handoff to the sax solo, both at the bridge and the end: Bruce stops soloing under the rhythm line, and after just a breath, Clarence comes in for his solo, picking up the baton like he and Bruce are a pair of relay runners. Springsteen abandons the rhyming dictionary to tell a story about Wild Billy, G-Man, Hazy Davy, and Killer Joe on a soft summer night, lightning bugs flickering in the distance. There are better boardwalk songs, better beach songs, and better tales of Shore legends. The best song on the first record. Bruce writes eloquently about his relationship with his father, the race riots in Asbury Park, the economic aftermath of white flight, and its ensuing impact on his generation, his neighbors, and his titular hometown. People love this number for its old-timey singalong style, the repetition of the organ chords, and its general celebration of drinking, beer, and baseball. On The River documentary, Bruce admits it was a mistake to leave this song off the album. Springsteen delivers a perfectly pitched vocal, full of anguish and longing, while Van Zandt adds harmonies in the chorus. The song has a more urgent pace, and the final solo is fervent and direct. The song has swung from tribute to triumph to remembrance, and powerfully so. You can see physical scars today, if you drive up Springwood Avenue past the train station. The empty lots and boarded-up windows are still there. A great song like this one can transcend its original meaning, too. When Springsteen chose to perform this song for America: A Tribute to Heroes, it was presented with quiet solemnity. At the first Jazzfest after Hurricane Katrina, it was about anger and survival. Are we missing anybody? So he sent out his guitar tech to pick up a four-track tape machine, set it up in his bedroom, and recorded a series of demos. Probably not. Springsteen would have overthought it. When I interviewed Vega in , I asked him what he thought when he first heard this song. His response? He needed a device to hide behind, though. This particular entry is tough. The track is undoubtedly high in the canon, but Springsteen never recorded a decent studio version. The one on The Promise is turgid at best. The officially released version on Live —85 is less about heat and more about athleticism. Try the ones from the Roxy, the September 21 show in Passaic, or the official Cleveland Agora bootleg. It is magnificent. This is a phenomenal pop song. When Springsteen got the band back together for the reunion concerts in and , they played this song at the end of the set. It was a brand-new song at the time, and Springsteen went all the way back to the roots of rock and roll with it. The studio version on Wrecking Ball captures the best parts of all of the versions: It has more complexity than the original Live in New York City rendition, more texture, and more space for the lyrics and the melody. Bittan is the MVP once again, delivering a calm and measured performance. Federici slides in on the second verse with another brilliant layer of coloration, which expands the depth of focus, before he takes that smooth, dark solo at the end of the verse. And who could forget that dissonant, deliberately jarring melody line on guitar during the choruses? Or that steady chime of the triangle in the background? A terrific, expansive pop single in the tradition of the Brill Building. A breathtaking and wretched song, but absolutely gorgeous from a production and composition standpoint. The last 30 seconds of rhythm, bass, and honky-tonk piano is almost the best part. It is the first song they played at the Super Bowl. It became the moment of tribute for the Big Man after his passing. It is the legend of E Street, and that is no small thing. A stunning, remarkable, impossibly tragic song. Springsteen wrote an entire album about the empty spaces in his marriage without realizing it until he was done. But subconscious or not, what a song. Is that a word? It should be. The performance is naked and unvarnished, just him and the piano, singing from that place next to his heart. The instrumentation leans toward country rock, and the vocals are louder and more confident. Is it to make sure he recognizes her? How many people are out there in that field? And what, pray tell, is a dynamo? The verses are quietly matter of fact, but the choruses explode with depth and emotion. And all throughout, the music swirls around you like a Tilt-A-Whirl. Bonus points to the version from the tour with the Horns of Love , tingeing the song with that much more bittersweet flavor. The electric version that Springsteen recorded with Tom Morello for High Hopes maintains the core elements of majesty and solemnity from the original, turned up to When the strings soar, your spirit sings. It is chaos and escape and freedom and defiance and revolution. One of the most unknown, underrated songs in the non-diehard catalogue. The first time you hear it, the song feels old and familiar. He absolutely succeeded. Bonus points for the best video he ever made. The first time I heard this song in Europe, the rapt applause made me remember that this is a story as old as time, as old as dirt, as old as humankind. It was an awe-inspiring, unifying moment. Bruce Springsteen: Two Hearts, the Story by Dave Marsh

This book is fairly informative, and reading it made me listen to Springsteen albums that I had not listened to a whole lot like Darkness on the Edge of Town and The River. That was the best part of it. Seeing some Decided to pick this one up since my parents got me the second volume Glory Days: Bruce Springsteen in the s. Seeing some of the lyrics written out I saw the continuity of a lot of his themes even more strongly. The book only thoroughly covers up through the end of the Born in the U. A tours in the late s. The author was obviously a fan, and ended up as a friend of Springsteen. He willingly admits this, since apparently he was criticized for it being a hagiography. That seems to be the case with most musician biographies, and it did not seem ridiculously fawning. Aug 29, Jason rated it liked it Recommends it for: People who are fanatical about Springsteen but they've probably already read it. My review: Everything you ever wanted to know about Bruce Springsteen and a whole lot more. The first half is great, but it got pretty tedious in the second half. What I learned from this book: Bruce Springsteen is just like you and I. Except he's a rock star. And he's written a lot of great songs some say he's better than Dylan! And he's incredibly wealthy. But he's from New Jersey and grew "up working class" which is just a nice way of saying he was poor since his father didn't really hold d My review: Everything you ever wanted to know about Bruce Springsteen and a whole lot more. But he's from New Jersey and grew "up working class" which is just a nice way of saying he was poor since his father didn't really hold down a steady job. Kind of hard to be considered working class or blue collar when you're unemployed? Mar 28, David Burke rated it really liked it. Bruce is a God. No doubt. This is actually two books in one. Separately I would give the first book 5 or 6 stars but the second part gets maudlin. Bruce's best work may be behind him but he is still a force to be reckoned with, particularly on stage Let's see Foo Fighters give a 4 hour concert Dave Marsh writes the second book as if it were all over. The book does not include the death of Clarence Clemons. Jul 19, Anne rated it liked it Recommends it for: Die-hard Springsteen fans. Shelves: read , read-in-english , non-fiction. I finally managed to finish this book which I think I started reading before or during the Working on a Dream Tour in As several other reviewers, I quite liked the first part of the book and found the second part rather tedious. Maybe that's why the book stranded on my nightstand for a looong time. I'm glad I finished it though and hope that Marsh will do a book on the period from up to now. Two Hearts touched on , but it was very brief. Jun 10, Marina rated it it was amazing Shelves: i-own. Nakon sto sam procitala knjigu, postala sam jos veci fan njegovih pjesama. Vise, bolje sam ih razumijela. Kao i njega i njegov nacin na koji pjeva, zbog cega pjeva i sto, tj o cemu ljudi pricaju nakon njegovog koncerta. Te emocije, osjecaje, snagu koju ostavi na svakom koncertu, pri svakom albumu kojeg je snimio, kojeg ce snimiti, kao i pjesmi. Osjetiti tu navalu adrenalina. View all 4 comments. Sep 06, Adam Sharp rated it really liked it. The definitive biography of my favorite musician Drags in some parts, and skips over some big chunks -- though the latter can be attributed to this being an anthology of two full books, and multiple new forwards, etc. Still a must-read for any die-hard fan. Jan 10, Nicholas Doyle rated it liked it Shelves: challenge-words. Feb 22, Maria rated it liked it Shelves: biography , bruce-springsteen , music. Aug 31, Caitlin rated it it was amazing. Sep 14, Miriam rated it really liked it. Not only a great history of the Boss but also of rock and roll. Jun 23, Linda Heffernan added it. Gabriel Lobb rated it liked it Mar 29, Chris rated it really liked it Nov 18, With this version included, Darkness becomes a completely different album. An evocative, solid rave-up. Not all homecoming songs are about triumph. His vocals are laid bare, nothing buried in the tune, his voice on the edge of anguish. It sounds ancient, as if it has always existed. It sounds like it was written decades ago. It is a more immediately recognizable Springsteen song while still being sonically fresh, even if what Bruce is doing here is his best Jimmy Webb interpretation which is not a bad thing! The song has an infectious backbeat, and Bruce relishes the challenge of singing with another strong vocalist. A delightful classic rockabilly romp from end to end. Springsteen shouts and screams and testifies with great driving percussion behind him, as guitars play in keys matching the organ. Underrated and overlooked. The keyboards and fingerpicking are so deep and buried, you feel them more than you hear them. Bruce realizing his Brian Wilson fantasies and cribbing from Jagger and Richards in tribute. Rose of Lima. The house is gone, but the tree still stands. Bruce Springsteen absolutely, genuinely loves Halloween. Plus, how many rock songs mention Viagra so brazenly? The track features gently loping acoustic guitar, layered with accordion and the most soothing vocals, like a mountain stream. Springsteen learned so much from Elvis Presley, including what not to do. With a strong assist from Chuck Berry, the Boss pays tribute to the King with this simple, pointed, almost-rockabilly track. He initially recorded the demo with a drum machine and could have re-recorded it with real drums at any point, yet chose not to. If you ever go to Memphis, play it right as you turn onto Elvis Presley Boulevard on your way to Graceland. It is timeless in the best way, glorious and soul affirming. The idea of using music as a form of prayer is a beautiful sentiment. An awful lot of gambling metaphors set against a standard rock melody. A strong, straightforward anthem. Springsteen minces no words with this one, though it loses a few points for extraneous electronic effects and textures that add nothing to the composition. An optimistic track, both lyrically and musically. First, an early rockabilly version was cut early in the —81 recording sessions that led up to The River. The River version is just a straight-ahead rocker, so it fits better with the record overall, but the rockabilly version absolutely has more depth. The quietest song on the record, but easily the angriest. He asks a lot of questions here without actually asking any actual questions. The power of this song lies in its specificity, the little details and the big ones. He sets the tone with tuba, accordion, acoustic guitar, and mandolin, telling the story of a circus from setting up and settling in to packing up and moving on. What distinguished this particular cut in his mind? This is the kind of song Springsteen thinks about when he describes why The River needed tracks that evoked an E Street Band show. The disbelief manifests itself in his voice. The good-time sax solo and get-down party music juxtapose with the lyrics in such a strong way. Bruce wants us to understand the hypocrisy of violating basic American civil liberties in the name of keeping America safe. With all those clever turns of phrase, this song gets better every time you listen to it. This tale of the inveterate rambler rolling to a stop is a keeper. Think about that again: He wrote it for Elvis Presley. Star time! He lost a lot of weight. For a long time, you only knew about this song if you were there back in the day, or you bought the Live — box set. Its inclusion was one of the things they got right with that release. It was probably thrown on just because Bruce misses Clarence. The track has its basis in the Starkweather killings ; he saw Badlands , which led him to a book written by a local journalist named Ninette Beaver , whom he would also interview. Sit down real close and listen good. Van Zandt perfectly colors the chorus on backing vocals, and the entire band is feeling it, slow and steady, with perfect, soulful precision. If you could bottle the sound of that one night, this is what it would be. Definitely one for the ladies. A perfect single, a heartfelt paean to the days of catching AM signals across the country, an anthem to the power of the radio airwaves. The song owes a lot to punk rock. A highly underrated number in the catalogue. Disc two strikes again! The song is a sympathetic celebration of music fandom, delivered with earnest, ebullient vocals, and half a dozen little sonic touches: hand claps, oooh-ooohs, aaah-aaahs, heys, and compact sax solo. It embodies the sultry, languid attitude of a cocksure young Casanova, with the music to match. This is what it sounds like when Springsteen pursues his power-pop agenda, even though the vocal delivery belongs on a rock-and-roll number. This song catches you by surprise. It opens with random guitar strumming, then the band comes in solemnly, with an almost-orchestral sound. Only the E Street Band could get away with something so unabashedly corny and unironic. Bruce does his best Jackie Wilson imitation on this track, and he pulls it off with aplomb. The vocals are full of exuberance and ecstasy, and Clemons is the unequivocal star, his sax running a counterpoint beneath the vocal melody. The intricate subtlety of the background instrumentation is simply outstanding: pedal steel and strings, brushes on the cymbals. The same words appear in every chorus, but they imply different emotional states based on the preceding verses. Go, Janey. The sound of summertime on the Jersey Shore, period. The first of the great epics. It swells when it should, then drops back down in the next measure. His voice is open and full of yearning, Van Zandt adds delightful harmony vocals in counterpoint, and a quasi-Farfisa organ noodles in the background. This would be a sad story of lost love and regret, but two elements elevate it: the lonely, hollow organ chords underneath the main melody, and the bridge. So simple, yet so compelling. The first song Springsteen wrote for the album. The sense of duty, the courage. An optimistic, boisterous statement of intent. The emotion in the vocals is what sells the song. Everybody jumps back in, though, as Bruce keens with anguish to close the track. Springsteen at his most dramatic and deliberately cinematic. Pure pop for modern people. He loosens up even more in the last verse, just after a warm and bubbly sax solo from Clemons. It more than succeeds. Springsteen has a habit of writing songs for other people, then liking them so much he hangs on to them. The E Street Band is perfectly dialed into that groove, but Bruce plants it firmly back on his side of the road with sharp, incisive guitar solos that slice right through the beat. A full-throttle rocker, the kind of song that the E Street Band eats for lunch. Initially an outtake from Born in the U. Springsteen delivers the best of his street-hipster cool alongside a musical arrangement that does the story justice. Just so much fun. Springsteen has a special knack for capturing the ritual of getting ready to go out on the weekend. It was a ferocious, note-perfect tribute. Springsteen gave this one away, folks. He wrote it and gave it to Southside Johnny, who recorded and released a fine version , to be sure. Southside is more Otis, Bruce is more Sam Cooke. The E Street arrangement is jazzy, dominated by piano, organ, cymbals, finger snaps, and the best part, the band singing on the choruses. His voice is filled with a mixture of resignation and desperation, which crashes against a frantic, agitated, full-on rock performance. His voice carries exultation and relief, buoyed by ringing, heraldic guitar chords. Yes, the synthesizer comes in eventually, but the guitar and vocals are righteous enough to overlook it. Anyway, the big, the big thing that these records had, you see, was that on it the audience was at least twice as loud as the band. When it moves you! It ranks as high as it does for two reasons: the power of the actual song, and how it absolutely improves any concert set list. Springsteen openly admitted that he stole the title of this song from Roy Acuff, but he liberally borrowed other elements from country music as well: the melody, the organ riff, and the stark brutality of the story. After such an intense, emotional experience, the listener needs to breathe and recover. An unflinching portrait about hard choices, family ties, and our essential humanity. This one hits you right in the gut. In , Springsteen offered an unexpected explanation : He used to drive by one of his childhood houses all the time, and when he started seeing a therapist, he asked why he was doing it. Something went wrong, and you keep going back to see if you can fix it. Plus, a decent guitar solo covers up the worst of the production garbage. Bruce spits out the words, while Nils Lofgren strums big, melodic chords. This one still comes out on tours when he wants to make a particular point, but nowhere near often enough. This is the dark horse of the record, which is a pity. It sounds more modern, with an almost Gaelic atonal chanting of the first verse. Springsteen creates an entire world in less than five minutes. Buon viaggio, mio fratello. The drum roll is fast-paced until the entire band comes in on the midpoint, and then once again before they break for the guitar solo, so elegant and full of tension. I always appreciated the balance of its construction: In the second verse, Johnny walks out on Mary Lou; in the fourth verse, a man gets stood up at the altar, subverting expectations. This River outtake is one of the great lost Springsteen songs. Bruce sings his own counterpoint coming out of the left channel. At the end, the song kicks into another instrumental refrain, with Weinberg driving the beat for a few seconds before a melody swings back for the true reprise. A deliberately overwrought song. Springsteen toggles convincingly between world-weary and strung-out before blasting unrestrained into the choruses. Federici backs all of this with solemn, churchlike chords, and the whole band comes in swinging. Bonus points for the tightly wound guitar solo. Both were widely praised for their insightful and near definitive coverage of Springsteen's life and music. For this book Marsh has written a new chapter covering major developments in Springsteen's career to today, particularly focusing on his album The Rising and its impact on American culture. Until Springsteen writes his autobiography, this book will stand as the best single introduction to a major force in American culture. Matthias N. He was a founding editor of Cream, and worked for Rolling Stone as associate editor from Bruce Springsteen - Two hearts in true waltz time Lyrics

Tell me more Here you can post a video of you playing the Two Hearts Chords, so your fellow guitarists will be able to see you and rate you. Currently we only support YouTube videos, but we will be adding other video and audio! Where can we find your performance? Your comment: Please, log in to post your performance. Add this song to your songbook. Current rating: 0. Transpose song:. The same words appear in every chorus, but they imply different emotional states based on the preceding verses. Go, Janey. The sound of summertime on the Jersey Shore, period. The first of the great epics. It swells when it should, then drops back down in the next measure. His voice is open and full of yearning, Van Zandt adds delightful harmony vocals in counterpoint, and a quasi-Farfisa organ noodles in the background. This would be a sad story of lost love and regret, but two elements elevate it: the lonely, hollow organ chords underneath the main melody, and the bridge. So simple, yet so compelling. The first song Springsteen wrote for the album. The sense of duty, the courage. An optimistic, boisterous statement of intent. The emotion in the vocals is what sells the song. Everybody jumps back in, though, as Bruce keens with anguish to close the track. Springsteen at his most dramatic and deliberately cinematic. Pure pop for modern people. He loosens up even more in the last verse, just after a warm and bubbly sax solo from Clemons. It more than succeeds. Springsteen has a habit of writing songs for other people, then liking them so much he hangs on to them. The E Street Band is perfectly dialed into that groove, but Bruce plants it firmly back on his side of the road with sharp, incisive guitar solos that slice right through the beat. A full-throttle rocker, the kind of song that the E Street Band eats for lunch. Initially an outtake from Born in the U. Springsteen delivers the best of his street-hipster cool alongside a musical arrangement that does the story justice. Just so much fun. Springsteen has a special knack for capturing the ritual of getting ready to go out on the weekend. It was a ferocious, note-perfect tribute. Springsteen gave this one away, folks. He wrote it and gave it to Southside Johnny, who recorded and released a fine version , to be sure. Southside is more Otis, Bruce is more Sam Cooke. The E Street arrangement is jazzy, dominated by piano, organ, cymbals, finger snaps, and the best part, the band singing on the choruses. His voice is filled with a mixture of resignation and desperation, which crashes against a frantic, agitated, full-on rock performance. His voice carries exultation and relief, buoyed by ringing, heraldic guitar chords. Yes, the synthesizer comes in eventually, but the guitar and vocals are righteous enough to overlook it. Anyway, the big, the big thing that these records had, you see, was that on it the audience was at least twice as loud as the band. When it moves you! It ranks as high as it does for two reasons: the power of the actual song, and how it absolutely improves any concert set list. Springsteen openly admitted that he stole the title of this song from Roy Acuff, but he liberally borrowed other elements from country music as well: the melody, the organ riff, and the stark brutality of the story. After such an intense, emotional experience, the listener needs to breathe and recover. An unflinching portrait about hard choices, family ties, and our essential humanity. This one hits you right in the gut. In , Springsteen offered an unexpected explanation : He used to drive by one of his childhood houses all the time, and when he started seeing a therapist, he asked why he was doing it. Something went wrong, and you keep going back to see if you can fix it. Plus, a decent guitar solo covers up the worst of the production garbage. Bruce spits out the words, while Nils Lofgren strums big, melodic chords. This one still comes out on tours when he wants to make a particular point, but nowhere near often enough. This is the dark horse of the record, which is a pity. It sounds more modern, with an almost Gaelic atonal chanting of the first verse. Springsteen creates an entire world in less than five minutes. Buon viaggio, mio fratello. The drum roll is fast-paced until the entire band comes in on the midpoint, and then once again before they break for the guitar solo, so elegant and full of tension. I always appreciated the balance of its construction: In the second verse, Johnny walks out on Mary Lou; in the fourth verse, a man gets stood up at the altar, subverting expectations. This River outtake is one of the great lost Springsteen songs. Bruce sings his own counterpoint coming out of the left channel. At the end, the song kicks into another instrumental refrain, with Weinberg driving the beat for a few seconds before a melody swings back for the true reprise. A deliberately overwrought song. Springsteen toggles convincingly between world-weary and strung-out before blasting unrestrained into the choruses. Federici backs all of this with solemn, churchlike chords, and the whole band comes in swinging. Bonus points for the tightly wound guitar solo. The most interesting, forward-thinking, experimental song of the post-reunion era. And somehow, it still has bona fide ties to everything that came before it. Even though he ultimately asked Michelle Moore to handle the rap verse. It soothes your heart and uplifts your spirit, which is exactly what gospel is supposed to do. If you swapped out the references, this could be any tale of a man falling afoul of the law, getting trapped by his own mistakes. You can easily imagine hearing it next to a campfire, sung by a lone cowboy roaming the Plains with a guitar strapped across his back. Springsteen played it solo acoustic in the Enormo-domes on the Born in the U. The horns are hot from the first note, the guitar intro is already on fire. The gauntlet is immediately thrown down. When performed live, though, the song becomes something else. Federici was in his element in those moments, playing with an energy and a deftness that broadcasted his instinctive, deep-seated feel for the music. The lyrics are concise and precise; the images evocative and heartrending. The E Street Band are sounding the goddamn alarm, telling you to wake up and pay attention. The guitars are a combustion engine, driving the energy up and pushing the song forward. The most breathtaking moment is the handoff to the sax solo, both at the bridge and the end: Bruce stops soloing under the rhythm line, and after just a breath, Clarence comes in for his solo, picking up the baton like he and Bruce are a pair of relay runners. Springsteen abandons the rhyming dictionary to tell a story about Wild Billy, G-Man, Hazy Davy, and Killer Joe on a soft summer night, lightning bugs flickering in the distance. There are better boardwalk songs, better beach songs, and better tales of Shore legends. The best song on the first record. Bruce writes eloquently about his relationship with his father, the race riots in Asbury Park, the economic aftermath of white flight, and its ensuing impact on his generation, his neighbors, and his titular hometown. People love this number for its old-timey singalong style, the repetition of the organ chords, and its general celebration of drinking, beer, and baseball. On The River documentary, Bruce admits it was a mistake to leave this song off the album. Springsteen delivers a perfectly pitched vocal, full of anguish and longing, while Van Zandt adds harmonies in the chorus. The song has a more urgent pace, and the final solo is fervent and direct. The song has swung from tribute to triumph to remembrance, and powerfully so. You can see physical scars today, if you drive up Springwood Avenue past the train station. The empty lots and boarded-up windows are still there. A great song like this one can transcend its original meaning, too. When Springsteen chose to perform this song for America: A Tribute to Heroes, it was presented with quiet solemnity. At the first Jazzfest after Hurricane Katrina, it was about anger and survival. Are we missing anybody? So he sent out his guitar tech to pick up a four-track tape machine, set it up in his bedroom, and recorded a series of demos. Probably not. Springsteen would have overthought it. When I interviewed Vega in , I asked him what he thought when he first heard this song. His response? He needed a device to hide behind, though. This particular entry is tough. The track is undoubtedly high in the canon, but Springsteen never recorded a decent studio version. The one on The Promise is turgid at best. The officially released version on Live —85 is less about heat and more about athleticism. Try the ones from the Roxy, the September 21 show in Passaic, or the official Cleveland Agora bootleg. It is magnificent. This is a phenomenal pop song. When Springsteen got the band back together for the reunion concerts in and , they played this song at the end of the set. It was a brand-new song at the time, and Springsteen went all the way back to the roots of rock and roll with it. The studio version on Wrecking Ball captures the best parts of all of the versions: It has more complexity than the original Live in New York City rendition, more texture, and more space for the lyrics and the melody. Bittan is the MVP once again, delivering a calm and measured performance. Federici slides in on the second verse with another brilliant layer of coloration, which expands the depth of focus, before he takes that smooth, dark solo at the end of the verse. And who could forget that dissonant, deliberately jarring melody line on guitar during the choruses? Or that steady chime of the triangle in the background? A terrific, expansive pop single in the tradition of the Brill Building. A breathtaking and wretched song, but absolutely gorgeous from a production and composition standpoint. The last 30 seconds of rhythm, bass, and honky-tonk piano is almost the best part. It is the first song they played at the Super Bowl. It became the moment of tribute for the Big Man after his passing. It is the legend of E Street, and that is no small thing. A stunning, remarkable, impossibly tragic song. Springsteen wrote an entire album about the empty spaces in his marriage without realizing it until he was done. But subconscious or not, what a song. Is that a word? It should be. The performance is naked and unvarnished, just him and the piano, singing from that place next to his heart. The instrumentation leans toward country rock, and the vocals are louder and more confident. Is it to make sure he recognizes her? How many people are out there in that field? Seeing some Decided to pick this one up since my parents got me the second volume Glory Days: Bruce Springsteen in the s. Seeing some of the lyrics written out I saw the continuity of a lot of his themes even more strongly. The book only thoroughly covers up through the end of the Born in the U. A tours in the late s. The author was obviously a fan, and ended up as a friend of Springsteen. He willingly admits this, since apparently he was criticized for it being a hagiography. That seems to be the case with most musician biographies, and it did not seem ridiculously fawning. Aug 29, Jason rated it liked it Recommends it for: People who are fanatical about Springsteen but they've probably already read it. My review: Everything you ever wanted to know about Bruce Springsteen and a whole lot more. The first half is great, but it got pretty tedious in the second half. What I learned from this book: Bruce Springsteen is just like you and I. Except he's a rock star. And he's written a lot of great songs some say he's better than Dylan! And he's incredibly wealthy. But he's from New Jersey and grew "up working class" which is just a nice way of saying he was poor since his father didn't really hold d My review: Everything you ever wanted to know about Bruce Springsteen and a whole lot more. But he's from New Jersey and grew "up working class" which is just a nice way of saying he was poor since his father didn't really hold down a steady job. Kind of hard to be considered working class or blue collar when you're unemployed? Mar 28, David Burke rated it really liked it. Bruce is a God. No doubt. This is actually two books in one. Separately I would give the first book 5 or 6 stars but the second part gets maudlin. Bruce's best work may be behind him but he is still a force to be reckoned with, particularly on stage Let's see Foo Fighters give a 4 hour concert Dave Marsh writes the second book as if it were all over. The book does not include the death of Clarence Clemons. Jul 19, Anne rated it liked it Recommends it for: Die-hard Springsteen fans. Shelves: read , read-in-english , non-fiction. I finally managed to finish this book which I think I started reading before or during the Working on a Dream Tour in As several other reviewers, I quite liked the first part of the book and found the second part rather tedious. Maybe that's why the book stranded on my nightstand for a looong time. I'm glad I finished it though and hope that Marsh will do a book on the period from up to now. Two Hearts touched on , but it was very brief. Jun 10, Marina rated it it was amazing Shelves: i-own. Nakon sto sam procitala knjigu, postala sam jos veci fan njegovih pjesama. Vise, bolje sam ih razumijela. Kao i njega i njegov nacin na koji pjeva, zbog cega pjeva i sto, tj o cemu ljudi pricaju nakon njegovog koncerta. Te emocije, osjecaje, snagu koju ostavi na svakom koncertu, pri svakom albumu kojeg je snimio, kojeg ce snimiti, kao i pjesmi. Osjetiti tu navalu adrenalina. View all 4 comments. Sep 06, Adam Sharp rated it really liked it. The definitive biography of my favorite musician Drags in some parts, and skips over some big chunks -- though the latter can be attributed to this being an anthology of two full books, and multiple new forwards, etc. Still a must-read for any die-hard fan. Jan 10, Nicholas Doyle rated it liked it Shelves: challenge-words. Feb 22, Maria rated it liked it Shelves: biography , bruce-springsteen , music. Aug 31, Caitlin rated it it was amazing. Sep 14, Miriam rated it really liked it. Not only a great history of the Boss but also of rock and roll. Jun 23, Linda Heffernan added it. Gabriel Lobb rated it liked it Mar 29, Chris rated it really liked it Nov 18, Peter Kaldanis rated it really liked it Jul 07, Jarrett Trezzo rated it really liked it Jul 20,

Bruce Springsteen: Two Hearts, the Story - Dave Marsh - Google книги

The nickname originated when a young Springsteen, playing club gigs with a band in the s, took on the task of collecting the band's nightly pay and distributing it amongst his bandmates. Show us your talent, perform Two Hearts Chords! Here you can post a video or audio performance. Tell me more Here you can post a video of you playing the Two Hearts Chords, so your fellow guitarists will be able to see you and rate you. Currently we only support YouTube videos, but we will be adding other video and audio! Where can we find your performance? Your comment: Please, log in to post your performance. Born to Run by Bruce Springsteen. And for all the muscle and magic of his life-shaking concerts with the E Street Band, his legendary status comes down to the songs. He is an acknowledged master of music…. Bruce Springsteen might be the quintessential American rock musician but his songs have resonated with fans from all walks of life and from all over the world. This unique collection features reflections from a diverse array of writers who explain what…. Born to Run - Deluxe edition by Bruce Springsteen. Out of stock online Not available in stores. The Born to Run…. Ships within weeks Not available in stores. Spanning Bruce Springsteen's amazing career, this book contains 27 of his best songs, all arranged in an easy guitar TAB format. In stock online Not available in stores. For 40 years, Bruce Springsteen has held center stage as the quintessential American rock and roll artist, expressing the hopes and dreams of the American everyman and every woman through his vast array of insightful and inspirational songs. In Counting Down…. Born to run by Bruce Springsteen. Paperback French. Out of stock online Available in stores. Audio Prod. Long before he sold million albums globally in a career that has endured artistically and commercially like no other performer's in the rock era Bruce Springsteen was a working-class New Jersey kid with a dream and a guitar. By the time he was 16 he was…. His photos have appeared on hundreds of album covers, as well…. Outlaw Pete by Bruce Springsteen. Springsteen gave this one away, folks. He wrote it and gave it to Southside Johnny, who recorded and released a fine version , to be sure. Southside is more Otis, Bruce is more Sam Cooke. The E Street arrangement is jazzy, dominated by piano, organ, cymbals, finger snaps, and the best part, the band singing on the choruses. His voice is filled with a mixture of resignation and desperation, which crashes against a frantic, agitated, full-on rock performance. His voice carries exultation and relief, buoyed by ringing, heraldic guitar chords. Yes, the synthesizer comes in eventually, but the guitar and vocals are righteous enough to overlook it. Anyway, the big, the big thing that these records had, you see, was that on it the audience was at least twice as loud as the band. When it moves you! It ranks as high as it does for two reasons: the power of the actual song, and how it absolutely improves any concert set list. Springsteen openly admitted that he stole the title of this song from Roy Acuff, but he liberally borrowed other elements from country music as well: the melody, the organ riff, and the stark brutality of the story. After such an intense, emotional experience, the listener needs to breathe and recover. An unflinching portrait about hard choices, family ties, and our essential humanity. This one hits you right in the gut. In , Springsteen offered an unexpected explanation : He used to drive by one of his childhood houses all the time, and when he started seeing a therapist, he asked why he was doing it. Something went wrong, and you keep going back to see if you can fix it. Plus, a decent guitar solo covers up the worst of the production garbage. Bruce spits out the words, while Nils Lofgren strums big, melodic chords. This one still comes out on tours when he wants to make a particular point, but nowhere near often enough. This is the dark horse of the record, which is a pity. It sounds more modern, with an almost Gaelic atonal chanting of the first verse. Springsteen creates an entire world in less than five minutes. Buon viaggio, mio fratello. The drum roll is fast-paced until the entire band comes in on the midpoint, and then once again before they break for the guitar solo, so elegant and full of tension. I always appreciated the balance of its construction: In the second verse, Johnny walks out on Mary Lou; in the fourth verse, a man gets stood up at the altar, subverting expectations. This River outtake is one of the great lost Springsteen songs. Bruce sings his own counterpoint coming out of the left channel. At the end, the song kicks into another instrumental refrain, with Weinberg driving the beat for a few seconds before a melody swings back for the true reprise. A deliberately overwrought song. Springsteen toggles convincingly between world-weary and strung-out before blasting unrestrained into the choruses. Federici backs all of this with solemn, churchlike chords, and the whole band comes in swinging. Bonus points for the tightly wound guitar solo. The most interesting, forward-thinking, experimental song of the post-reunion era. And somehow, it still has bona fide ties to everything that came before it. Even though he ultimately asked Michelle Moore to handle the rap verse. It soothes your heart and uplifts your spirit, which is exactly what gospel is supposed to do. If you swapped out the references, this could be any tale of a man falling afoul of the law, getting trapped by his own mistakes. You can easily imagine hearing it next to a campfire, sung by a lone cowboy roaming the Plains with a guitar strapped across his back. Springsteen played it solo acoustic in the Enormo-domes on the Born in the U. The horns are hot from the first note, the guitar intro is already on fire. The gauntlet is immediately thrown down. When performed live, though, the song becomes something else. Federici was in his element in those moments, playing with an energy and a deftness that broadcasted his instinctive, deep-seated feel for the music. The lyrics are concise and precise; the images evocative and heartrending. The E Street Band are sounding the goddamn alarm, telling you to wake up and pay attention. The guitars are a combustion engine, driving the energy up and pushing the song forward. The most breathtaking moment is the handoff to the sax solo, both at the bridge and the end: Bruce stops soloing under the rhythm line, and after just a breath, Clarence comes in for his solo, picking up the baton like he and Bruce are a pair of relay runners. Springsteen abandons the rhyming dictionary to tell a story about Wild Billy, G-Man, Hazy Davy, and Killer Joe on a soft summer night, lightning bugs flickering in the distance. There are better boardwalk songs, better beach songs, and better tales of Shore legends. The best song on the first record. Bruce writes eloquently about his relationship with his father, the race riots in Asbury Park, the economic aftermath of white flight, and its ensuing impact on his generation, his neighbors, and his titular hometown. People love this number for its old-timey singalong style, the repetition of the organ chords, and its general celebration of drinking, beer, and baseball. On The River documentary, Bruce admits it was a mistake to leave this song off the album. Springsteen delivers a perfectly pitched vocal, full of anguish and longing, while Van Zandt adds harmonies in the chorus. The song has a more urgent pace, and the final solo is fervent and direct. The song has swung from tribute to triumph to remembrance, and powerfully so. You can see physical scars today, if you drive up Springwood Avenue past the train station. The empty lots and boarded-up windows are still there. A great song like this one can transcend its original meaning, too. When Springsteen chose to perform this song for America: A Tribute to Heroes, it was presented with quiet solemnity. At the first Jazzfest after Hurricane Katrina, it was about anger and survival. Are we missing anybody? So he sent out his guitar tech to pick up a four-track tape machine, set it up in his bedroom, and recorded a series of demos. Probably not. Springsteen would have overthought it. When I interviewed Vega in , I asked him what he thought when he first heard this song. His response? He needed a device to hide behind, though. This particular entry is tough. The track is undoubtedly high in the canon, but Springsteen never recorded a decent studio version. The one on The Promise is turgid at best. The officially released version on Live —85 is less about heat and more about athleticism. Try the ones from the Roxy, the September 21 show in Passaic, or the official Cleveland Agora bootleg. It is magnificent. This is a phenomenal pop song. When Springsteen got the band back together for the reunion concerts in and , they played this song at the end of the set. It was a brand-new song at the time, and Springsteen went all the way back to the roots of rock and roll with it. The studio version on Wrecking Ball captures the best parts of all of the versions: It has more complexity than the original Live in New York City rendition, more texture, and more space for the lyrics and the melody. Bittan is the MVP once again, delivering a calm and measured performance. Federici slides in on the second verse with another brilliant layer of coloration, which expands the depth of focus, before he takes that smooth, dark solo at the end of the verse. And who could forget that dissonant, deliberately jarring melody line on guitar during the choruses? Or that steady chime of the triangle in the background? A terrific, expansive pop single in the tradition of the Brill Building. A breathtaking and wretched song, but absolutely gorgeous from a production and composition standpoint. The last 30 seconds of rhythm, bass, and honky-tonk piano is almost the best part. It is the first song they played at the Super Bowl. It became the moment of tribute for the Big Man after his passing. It is the legend of E Street, and that is no small thing. A stunning, remarkable, impossibly tragic song. Springsteen wrote an entire album about the empty spaces in his marriage without realizing it until he was done. But subconscious or not, what a song. Is that a word? It should be. The performance is naked and unvarnished, just him and the piano, singing from that place next to his heart. The instrumentation leans toward country rock, and the vocals are louder and more confident. Is it to make sure he recognizes her? How many people are out there in that field? And what, pray tell, is a dynamo? The verses are quietly matter of fact, but the choruses explode with depth and emotion. And all throughout, the music swirls around you like a Tilt-A-Whirl. Bonus points to the version from the tour with the Horns of Love , tingeing the song with that much more bittersweet flavor. The electric version that Springsteen recorded with Tom Morello for High Hopes maintains the core elements of majesty and solemnity from the original, turned up to When the strings soar, your spirit sings. It is chaos and escape and freedom and defiance and revolution. One of the most unknown, underrated songs in the non-diehard catalogue. The first time you hear it, the song feels old and familiar. He absolutely succeeded. Bonus points for the best video he ever made. The first time I heard this song in Europe, the rapt applause made me remember that this is a story as old as time, as old as dirt, as old as humankind. It was an awe-inspiring, unifying moment. Instrumentally, the track is unparalleled. The harmonica opens the track, keening like a train whistle high in the distance. The song gradually builds: just piano and vocals in the first verse and first chorus, then the E Street Band steps in, one at a time, slowly raising the emotional tension. Weinberg hitting the stick against the edge of the snare, then Federici hitting a handful of organ riffs, then Tallent adding the bottom, and Weinberg switching to the skins. The song cycles back to the stripped-down approach for the last verse, as the E Street Band vocally sustains a quiet, one- note chorus in the background. Kids flash guitars just like switchblades. The performance is phenomenally operatic, with so much color, shading, emotion, and tension. It gives the song its heat, alongside the intensity generated by the organ and the piano. Its artfulness lies in the way it slowly builds tension from verse to verse, supported by the consistent forward movement of the chorus. If you ever stand close enough to the stage during a live Springsteen show, especially in a stadium, the boosted bass will drive straight through you, especially on that last chorus. Born to Run was conceived as a song cycle of one day, beginning in the morning and ending in the nighttime. The harmonica becomes the ignition key.

https://files8.webydo.com/9586126/UploadedFiles/D7969DFD-10A0-9CF9-BE8C-04881F134AC3.pdf https://files8.webydo.com/9586843/UploadedFiles/E8166837-2F68-1840-FF88-0901F241BF61.pdf https://files8.webydo.com/9591029/UploadedFiles/BBBB7C9F-8FD3-EB1F-1827-53E945D8AEEC.pdf https://files8.webydo.com/9586641/UploadedFiles/0F9AF5BF-16BE-8C2A-1B86-ED3ECC72F8AF.pdf