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BRUCE SPRINGSTEEN: Human Touch World Tour 1992-93

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Societat | Redacció | Actualitzat el 25/07/2015 a les 23:19 BRUCE SPRINGSTEEN: Human Touch World Tour 1992-93. Divendres 3 de Juliol 1992. Plaça de Toros La Monumental, Barcelona. He de confessar que amb la multitud de fans i seguidors del Boss -entre els que també m'hi compto-, i els que el segueixen a molts concerts més enllà del nostre país, escriure aquest article no es fàcil. Des del primer concert, l'any 1988, al Camp del Barça fins ara, l'he pogut gaudir onze vegades. Segurament molts dels que llegiu això, moltes més, com l'Àlex, el Miqui, o com l'Albert 'chocolat man' que ha tingut el privilegi d'estar al backstage de París convidat i a USA. O el Marc a Milà, i molts i molts d'altres. Toca parlar del Boss, de reivindicar dos discs força menyspreats per molts fans. D'aquell calorós i ?pre-olímpic? 3 de Juliol del 92 a la Monumental i d'aquell 11 de Maig del 93 a l'Estadi Olímpic que ens va visitar el Bruce, el Boss, el ?puto amo?, d'això ja fa 33 anys (com passa el temps!). Human Touch i Lucky Town, van ser dos àlbums molt criticats pels seguidors de Boss i de l'estil de la E Street Band; catalogats de dolentíssims, fluixets i de totes les plagues bíbliques imaginables. Personalment, mai he compartit aquesta opinió, em semblen dos discs més que correctes, i en tot cas i com a mínim, a l'alçada del Tunnel Of Love. Sempre he estat convençut que va ser així precisament perquè no els va fer amb la E Street Band i perquè aquella gira tampoc la feia amb la E Street Band. Segurament si els hagués fet amb la E Street Band, els crítics parlarien ara de dos discs emblemàtics. En el fons, la realitat és que el llistó estava molt alt. Com es superen els imbatibles Born to Run, Darkness on the Edge of Town, The River i Born in the U.S.A? Difícil oi? Amb el pas del temps i vist amb perspectiva, comprovem que a la discografia del Boss hi ha discs molt pitjors que aquests de llarg. Després d'un excel·lent The Rising (2002), El Boss firma uns més que discrets Magic (2007), Working on a Dream (2009), Wrecking Ball (2012) i High Hopes(2014), aquest últim sense ni un sol tema nou, amb temes ja publicats anteriorment, regravats i passats pel turmix de la E Street Band. https://www.naciodigital.cat/naciosolsona/noticia/15698/bruce-springsteen-human-touch-world-tour-1992-93-divendres-juliol-1992-placa-toros-monumental-barcelona Pagina 1 de 10 Human Touch & Lucky Town 1992 Després de cinc anys de silenci musical, sense la E Street Band -amb l'excepció de Roy Bittan i Patti Scialfa-, el Boss es va llançar a l'aventura de publicar dos discs que poc tenien a veure l'un amb l'altre. Per això no es van editar com un disc doble sinó com dos independents. De forma absolutament simultània, al març de 1992, veien la llum Human Touch i Lucky Town. El segon plasmava la recuperació anímica després d'uns anys difícils, i l'estabilitat aparentment definitiva. El primer, composat i gravat bastant abans, reflectia l'altra part: La duríssima època que va viure Springsteen en els temps immediatament posteriors a les gires Tunnel Of Love Tour i Human Rights Now!. Tunnel Of Love havia estat el disc de la seva crisi matrimonial: en el transcurs de pocs mesos Bruce s'havia divorciat de Julianne Phillips i s'havia unit a la cantant italoamericana Patti Scialfa (l'ex-parella del seu company Nils Lofgren), present com a corista a l'àlbum. Al 92, el mite del Boss està consolidat. El seu atractiu neix de l'amor per les arrels de la seva música i el seu geni per barrejar-la amb els valors més contemporanis. Springsteen ha sabut cantar alguns dels sentiments més commovedors mai expressats pel rock. Si afegim l'actitud i l'entrega a l'escenari, la seva musica es torna imbatible. Al 1991, Springsteen va contreure matrimoni amb Scialfa, amb qui va tenir tres fills: Evan James (nascut al 1990), Jessica Rau (al 1991) i Sam Ryan (al 1994). En un intent per reflectir l'estabilitat i la felicitat aconseguida amb el seu nou matrimoni i la seva recent paternitat, i acompanyat per músics de sessió, Springsteen publica aquests dos àlbums conjunts. Tots dos van ser criticats pels seguidors, confabulant-se per ignorar la gira de promoció duta a terme a continuació per Springsteen i The ?Other? Band. D'altra banda, per a altres seguidors que havien conegut al Boss després de la consolidació al 1975 de la E Street Band, la nova gira suposava una oportunitat per veure el desenvolupament del Boss amb una nova formació. Human Touch Human Touch (setembre de 1989-gener de 1992) és un disc més fosc, amb menor frescor que Lucky Town. El tema que li dóna títol va ser el single de presentació de tots dos discs. En total, 14 temes entre les quals destaquen: Human Touch, una preciosa melodia: Soul Driver, una agra crítica televisiva: 57 Channels And Nothin´On, la millor peça de rock del disc i, dit sigui de pas, poc o gens explotada en els anys i gires següents: Roll Of The Dice, i una balada d'amor i desamor: I Wish I Were Blind. Lucky Town https://www.naciodigital.cat/naciosolsona/noticia/15698/bruce-springsteen-human-touch-world-tour-1992-93-divendres-juliol-1992-placa-toros-monumental-barcelona Pagina 2 de 10 Lucky Town (setembre de 1991-gener de 1992) en canvi és un disc ple de frescor, alegria i llum. Cap dels seus deu temes té desperdici. L'inici, amb Better Days, Lucky Town i Local Hero és d'antologia. La balada If I Should Fall Behind és una cançó utilitzada pel Boss en els anys successius per a moments de gran emoció en els seus concerts, fins i tot amb la E Street Band. Bruce Springsteen - If I Should Fall Behind V?deo: https://www.youtube.com/watch?v=RmUG1ffgKFw Leap Of Faith retorna al demolidor inici, Living Proof, un tema de potent bateria i guitarra esmolada i My Beautiful Reward, amb guitarra acústica i òrgan sonant de manera fantàstica. Dos discs diferents gravats amb músics diferents. De fet, només el propi Bruce, Roy Bittan i Patti Scialfa repeteixen en tots dos. Els desitjos del Boss de treballar amb músics diferents el van portar a filar encara més prim en el tour amb el qual va recórrer mig món. Novament, es produeixen canvis en la formació de la banda d'acompanyament, batejada com The ?Other? Band, repetint també Bittan i Scialfa. Aquesta gira va donar com resultat el disc i DVD Plugged, editat a l'abril de 1993, 13 mesos després de Human Touch i Lucky Town. Human Touch World Tour 1992 https://www.naciodigital.cat/naciosolsona/noticia/15698/bruce-springsteen-human-touch-world-tour-1992-93-divendres-juliol-1992-placa-toros-monumental-barcelona Pagina 3 de 10 Conservo com un tresor (i emmarcades) les entrades originals de l'època (allò eren entrades i no les fotocopies blanc i negre d'avui dia). Al 1992 Springsteen va emprendre una gira per Europa que va arrencar a Estocolm. L'esquema de gira per pavellons i després estadis, que tan bé havia funcionat a la gira 84-85 per USA, ho va traslladar a Europa per primera vegada i va funcionar d'allò més bé. Els únics concerts de 1992 que tenia prevists a Espanya eren a Barcelona els dies 2 i 3 de Juliol. El lloc era nou, una plaça de toros. El problema va arribar quan una vaga de transportistes va paralitzar França, amb la qual cosa no es podia traslladar cap camió fins a Barcelona. La ciutat estava totalment bolcada en la celebració dels Jocs Olímpics, mancant pocs dies per la cerimònia d'inauguració. El concert del dia 2 va haver de ser traslladat al dia 4, i es va aconseguir arribar a temps per no posposar el del dia 3. L'escenari no seria el de la gira, sinó un que es va improvisar però que no va suposar cap problema i amb un equip llogat a corre-cuita a Mataró . L'expectació per veure al Boss després de quatre anys d'absència dels escenaris era obvia, encara que no vingués amb la E Street Band. Les peticions en el segon dels concerts eren lògiques, era el 4 de Juliol, el dia de la independència, i evidentment eren Independence Day, però Springsteen va tirar de repertori dels dos últims discs, Human Touch i Lucky Town, i els dos anteriors Tunnel Of Love i Born In The USA. Va ser una nit d'estiu fantàstica, amb un Bruce que semblava voler demostrar que sense la E Street Band també podia fer coses. The ?Other? Band van demostrar que eren capaços de donar un nou aire a la música del Boss. Així doncs que aquella tarda, amb la meva dona, els amics i les respectives, cap a Barcelona. Els concerts del Boss es tornen com una mena de ritual, una litúrgia irrepetible que t'atrapa, molta gent en aquella època (i encara ara) que no eren seguidors i no havien vist mai els seus directes https://www.naciodigital.cat/naciosolsona/noticia/15698/bruce-springsteen-human-touch-world-tour-1992-93-divendres-juliol-1992-placa-toros-monumental-barcelona Pagina 4 de 10 sortien extasiats, hipnotitzats del que acabaven de veure i es tornaven incondicionals per sempre més.
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  • Runaway American Dream, Hope and Disillusion in the Early Work

    Runaway American Dream, Hope and Disillusion in the Early Work

    Runaway American Dream HOPE AND DISILLUSION IN THE EARLY WORK OF BRUCE SPRINGSTEEN Two young Mexican immigrants who risk their lives trying to cross the border; thousands of factory workers losing their jobs when the Ohio steel industry collapsed; a Vietnam veteran who returns to his hometown, only to discover that he has none anymore; and young lovers learning the hard way that romance is a luxury they cannot afford. All of these people have two things in common. First, they are all disappointed that, for them, the American dream has failed. Rather, it has become a bitter nightmare from which there is no waking up. Secondly, their stories have all been documented by the same artist – a poet of the poor as it were – from New Jersey. Over the span of his 43-year career, Bruce Springsteen has captured the very essence of what it means to dream, fight and fail in America. That journey, from dreaming of success to accepting one’s sour destiny, will be the main subject of this paper. While the majority of themes have remained present in Springsteen’s work up until today, the way in which they have been treated has varied dramatically in the course of those more than forty years. It is this evolution that I will demonstrate in the following chapters. But before looking at something as extensive as a life-long career, one should first try to create some order in the large bulk of material. Many critics have tried to categorize Springsteen’s work in numerous ‘phases’. Some of them have reasonable arguments, but most of them made the mistake of creating strict chronological boundaries between relatively short periods of time1, unfortunately failing to see the numerous connections between chronologically remote works2 and the continuity that Springsteen himself has pointed out repeatedly.