Bruce Springsteen the Collection 1973-84 Mp3, Flac, Wma
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Label: Artwork Location: Title: Review Locati
Bob Dylan Title: 04271992 Start Date: 04/27/1992 Location: Paramount Theater, Seattle, WA Label: Artwork Location: Review Location: Recording Source: Disc Number: 1 73:28 1 Rainy Day Women #12 & 35 01:24 2 I Don't Believe You 04:40 3 Union Sundown 04:23 4 Just Like A Woman 05:24 5 Tangled Up In Blue 08:23 6 She Belongs To Me 05:01 7 Everything's Broken 04:02 8 Love Minus Zero/No Limit 02:39 9 Little Moses 03:47 10 A Hard Rain's A-Gonna Fall 06:48 11 It;s All Over Now, Baby Blue 06:32 12 Cats In The Well 04:36 13 Idiot Wind 09:12 14 The Times They Are A-Changin' 06:37 Disc Number: 2 65:22 1 Highway 61 06:35 2 Absolutely Sweet Marie 05:38 3 All Along The Watchtower 04:20 cut 4 Blowin' In The Wind 03:25 start of 4/28 filler 5 Sally Sue Brown 02:56 6 Stuck Inside Of Mobile 06:35 7 Simple Twist Of Fate 07:40 8 Watching The River Flow 03:45 9 Female Rambling Sailor 03:04 10 Gates Of Eden 04:51 11 Shooting Star 05:24 12 Like A Rolling Stone 05:33 13 Ballad Of A Thin Man 05:36 Bob Dylan Title: 07011978 Start Date: 07/01/1978 Location: Zeppelindfeld, Nurnberg, West Germany Label: Artwork Location: http://www.angelfire.com/yt/tyamabe/nurnberg/ Review Location: Recording Source: Disc Number: 1 70:28 1 She's Love Crazy 02:30 2 Baby Stop Crying 05:39 3 Mr, Tambourine Man 04:28 4 Shelter From The Storm 04:51 5 It's All Over Now, Baby Blue 04:24 6 Tangled Up In Blue 07:07 7 Ballad Of A Thin Man 04:35 8 Maggie's Farm 04:47 9 I Don't Belive You 04:26 10 Like A Rolling Stone 06:39 11 I Shall Be Released 04:13 12 Going, Going, Gone 04:23 13 A Change Is -
"The Culture of the 1970S Reflected Through Bruce Springsteen's Music"
"The Culture of the 1970s Reflected Through Bruce Springsteen's Music" Senior Honors Thesis Presented To The Honors College Written By Melody S. Jackson Spring, 1983 Advised By Dr. Anthony Edmonds .;,- () -- "The Culture of the 1970s Reflected Through Bruce Springsteen's Music" I have seen the future of rock and roll and it is Bruce Springsteen. Jon Landau the advent of Bruce Springsteen, who made rock and roll a matter of life and death again, seemed nothing short of a miracle to me . Bruce Springsteen is the last of rock's great innocents. Dave Marsh Whether these respected critics see Springsteen as the future of great rock or the end of it, they do regard him with respect for his ability to convey the basic feeling of rock. And they are not alone in this opinion. From the start of his career, Springsteen has received a great deal of critical acclaim. This acclaim, in part because of his performing ability, seems quite fitting since his shows usually last for two and a half hours and often continue for four or even five hours. Relentlessly, he gives of himself to the thousands of fans -- his cult following -- who have come to see their own Rock Messiah. Upon analysis of the lyrics of Springsteen's songs, lyrics which he has written, one sees that he has a unique talent f()r reflecting the situation of the lower-middle class which he grew up in. In fact, in all of the albums he has released up to this time, he has written about the culture of the lower-middle class. -
Bruce Springsteen: America’S Poet Laureate
Bruce Springsteen: America’s Poet Laureate Thursdays, 7:00-9:00pm September 16th - October 21st 6-Weeks on Zoom with Pete Elman Week-by-Week Course Outline and Syllabus Suggested reading and viewing for the course, suggested listening by week, plus audio playlist and video clips for each week which represent songs and performances specific to that week. Reading: Born to Run: The Bruce Springsteen Story, Dave Marsh, 1979 Springsteen, Robert Hilburn, 1985 Glory Days: Bruce Springsteen in the 1980s, Dave Marsh, 1987. Springsteen: Point Blank by Chris Sandford, 1999 Bruce Springsteen: Songs, 2001 It Ain't No Sin To Be Glad You're Alive: The Promise of Bruce Springsteen, Eric Alterman, 2001 Bruce Springsteen: Two Hearts: The Definitive Biography, Dave Marsh , 2005 The Ties That Bind: Bruce Springsteen A to E to Z. Gary Graff, 2005 Bruce, Peter Carlin, 2012 Talk About a Dream: The Essential Interviews of Bruce Springsteen, Chris Phillips, editor of Backstreets magazine, 2013 Springsteen on Springsteen: Interviews, Speeches, and Encounters, 2013 Boss: Bruce Springsteen & E Street Band --Illustrated History, Gillian Garr, 2016 Born to Run, Bruce Springsteen, 2016 Viewing (documentary films): Born To Run: 30th Anniversary 3-Disc Set (CD/2DVD) 2005 The Promise: The Darkness on the Edge of Town Story, 2010 No Nukes, 1980-- first official appearance of Bruce & the E Street Band on film The Ties That Bind: The River Collection, 4 CD--3 DVD box set, 2015 Bruce Springsteen and the E-Street Band DVD - Blood Brothers 2001 Bruce Springsteen - The Complete Video Anthology, 1978-2000, 2001 Bruce Springsteen & the E Street Band - Live in New York City, 2001, Western Stars: a concert film 2019 Week 1: 1949-71; “He only wanted to play the goddam guitar.” Childhood in New Jersey: Catholicism, family life, alienation, the loner. -
The Backstreets Liner Notes
the backstreets liner notes BY ERIK FLANNIGAN AND CHRISTOPHER PHILLIPS eyond his insightful introductory note, Bruce Springsteen elected not to annotate the 66 songs 5. Bishop Danced RECORDING LOCATION: Max’s Kansas City, New included on Tracks. However, with the release York, NY of the box set, he did give an unprecedented RECORDING DATE: Listed as February 19, 1973, but Bnumber of interviews to publications like Billboard and MOJO there is some confusion about this date. Most assign the which revealed fascinating background details about these performance to August 30, 1972, the date given by the King songs, how he chose them, and why they were left off of Biscuit Flower Hour broadcast (see below), while a bootleg the albums in the first place. Over the last 19 years that this release of the complete Max’s set, including “Bishop Danced,” magazine has been published, the editors of Backstreets dated the show as March 7, 1973. Based on the known tour have attempted to catalog Springsteen’s recording and per- chronology and on comments Bruce made during the show, formance history from a fan’s perspective, albeit at times an the date of this performance is most likely January 31, 1973. obsessive one. This booklet takes a comprehensive look at HISTORY: One of two live cuts on Tracks, “Bishop Danced” all 66 songs on Tracks by presenting some of Springsteen’s was also aired on the inaugural King Biscuit Flower Hour and own comments about the material in context with each track’s reprised in the pre-show special to the 1988 Tunnel of Love researched history (correcting a few Tracks typos along the radio broadcast from Stockholm. -
Blues Music and the Art of Narrative Self-Invention
UNIVERSITY OF CALIFORNIA Los Angeles The Fictional Black Blues Figure: Blues Music and the Art of Narrative Self-Invention A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in English by Kimberly Renee Mack 2015 © Copyright by Kimberly Renee Mack 2015 ABSTRACT OF THE DISSERTATION The Fictional Black Blues Figure: Blues Music and the Art of Narrative Self-Invention by Kimberly Renee Mack Doctor of Philosophy in English University of California, Los Angeles, 2015 Professor Richard A Yarborough, Chair My dissertation examines representations of black American blues musicians in contemporary American fiction, drama, and popular music, and it argues that blues music can be examined as a narrative art rooted in the tradition of fictionalized autobiographical self- fashioning. I contend that the contemporary, multi-racial, literary and musical characters in my project who participate in so-called “authentic” blues expression create, sometimes consciously and sometimes unwittingly, a fiction on top of a fiction. This project questions the belief held by many blues scholars, critics, and fans that blues music is a racially essentialized form instead of a narrative tradition made possible through carefully constructed autobiographical and biographical fictions. ii My project makes two important interventions into traditional discussions of blues production and the representations of blues figures in 20th- and 21st-century American literature. First, it destabilizes racial, socio-cultural, temporal, and gendered blues tropes by shifting blues expression from an innate skill to a storytelling art form through which its makers invent themselves. Second, this study allows for a different, interdisciplinary approach to autobiographical and biographical expression. -
Parody As a Borrowing Practice in American Music, 1965–2015
Parody as a Borrowing Practice in American Music, 1965–2015 A dissertation submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Division of Composition, Musicology, and Theory of the College-Conservatory of Music by John P. Thomerson BM, State University of New York at Fredonia, 2008 MM, University of Louisville, 2010 Committee Chair: bruce d. mcclung, PhD ABSTRACT Parody is the most commonly used structural borrowing technique in contemporary American vernacular music. This study investigates parody as a borrowing practice, as a type of humor, as an expression of ethnic identity, and as a response to intellectual trends during the final portion of the twentieth century. This interdisciplinary study blends musicology with humor studies, ethnic studies, and intellectual history, touching on issues ranging from reception history to musical meaning and cultural memory. As a structural borrowing technique, parody often creates incongruity—whether lyrical, stylistic, thematic, evocative, aesthetic, or functional—within a recognized musical style. Parodists combine these musical incongruities with other comic techniques and social conventions to create humor. Parodists also rely on pre-existing music to create, reinforce, and police ethnic boundaries, which function within a racialized discourse through which parodists often negotiate ethnic identities along a white-black binary. Despite parody’s ubiquity in vernacular music and notwithstanding the genre’s resonance with several key themes from the age of fracture, cultivated musicians have generally parody. The genre’s structural borrowing technique limited the identities musicians could perform through parodic borrowings. This study suggests several areas of musicological inquiry that could be enriched through engagement with parody, a genre that offers a vast and largely unexplored repertoire indicating how musical, racial, and cultural ideas can circulate in popular discourse. -
Hemispheric Regionalism: Border Discourse and the Boundaries of American Studies
Caleb Bailey Hemispheric Regionalism Hemispheric Regionalism: Border Discourse and the Boundaries of American Studies By Caleb Bailey BA (Film & Television Studies) PGCE (English) MA (Humanities) Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy in the Faculty of Arts March 2016 Caleb Bailey Hemispheric Regionalism Abstract This thesis engages with and intervenes in a number of insurgent, emergent, and re-emergent, pedagogies and theoretical frameworks of increasing relevance to area studies and, more broadly, challenges the discipline of American Studies to expand its theoretical and textual bases. Here the challenges of transnationalism (as a concern which all area studies need to address) and hemispherism (a concern more specifically related to American Studies) are the key motivating factors for the proposed reconfiguration of the discipline outlined in the thesis. These are pervasive and important strands of political, economic, social, cultural, and academic life, but which the discipline of American Studies has been slow to recognise and incorporate in any meaningful way. The problem here lies in the fact that for American Studies the nation remains an unquestioned and seemingly immoveable priority: studies of the U.S. become as exceptionalist as the object of their study. This project proposes that this subservience to the centre (the nation-state) at the expense of the periphery (the nation’s borders) can be redressed by returning to a much narrower sphere of experience: the region. Paradoxically, this will allow for an expansion of the purview of American Studies, enabling centrifugal readings of American (in its continental sense) culture to develop, rather than the centripetal analyses which have been the subject of much vexed discussion amongst scholars over recent years. -
Robert Greenleaf, Bruce Springsteen, and Servant-Leadership
THE PROMISED LAND Robert Greenleaf, Bruce Springsteen, and Servant-Leadership -JOE ALBERT AND LARRY C. SPEARS Bruce Springsteen and Robert K. Greenleaf. Two very different men, born into different ages, different environments, different careers. Yet, despite all of their differences, these two men share much in common. Beyond certain superficial similarities-during the 1950s and '60s they lived a short distance from one another in New Jersey-we contend that Springsteen and Green leaf share a commitment to what has come to be called "servant-leadership," and to a set of characteristics that exemplify servant-leaders. We live in an age of deepening cynicism-a time where a lack of integ rity and mistrust abound. Yet, we see in the writings of Robert Greenleaf, and in the music and lyrics of Bruce Springsteen, a powerful antidote to cynicism and despair. While much has been written about Springsteen as a musical artist, and as a pop icon, we believe that this is the first look at Bruce Springsteen as a contemporary servant-leader. Through an examination of the lyrics and life of Bruce Springsteen in relation to key elements of servant-leadership, and especially ten character istics associated with servant-leaders, it is our belief that Springsteen is an essential contemporary servant-leader and prophet. DEEP STRUCTURES OF PERSONALITY Our fundamental understanding of character has much to do with the essential traits exhibited by a person. In recent years, there has been a grow ing interest in the nature of character and character education, based upon a belief that positive character traits can be both taught and learned. -
VELKÝ ŠÉF: Život a Sláva Bruce Springsteena
VELKÝ ŠÉF: život a sláva Bruce Springsteena Clinton Heylin Přeložil Milan Stejskal Copyright © Clinton Heylin, 2012 First published in the UK by Constable & Robinson Ltd., 2012 Translation © Milan Stejskal, 2013 ISBN 978-80-7207-933-9 Z anglického originálu Bruce Springsteen: E Street Shuffle vydaného nakladatelstvím Constable & Robinson v Londýně v roce 2012, přeložil Milan Stejskal Jazyková redakce Mirka Jarotková Odpovědný redaktor Michal Hrubý Fotografie Karel Šanda Obálka Marcela Strejčková – Nomzamo Vydalo nakladatelství & vydavatelství VOLVOX GLOBATOR Štítného 17, 130 00 Praha 3 www.volvox.cz jako 48. svazek edice Evokace celkově jako 1016. publikaci Elektronickou knihu připravil PureHTML.cz Vydání první Praha 2013 Adresa knihkupectví VOLVOX GLOBATOR: Štítného 16, 130 00 Praha 3 Pro Erika, posledního zastánce, jehož víra je neochvějná. Umění já věřím, ale umělci mi budou vždycky podezřelý, protože jsou to jenom šašci... jako všichni ostatní. 2. května 2012 – Tahle holka v tom umí chodit Stalo se to jednoho májového večera... Se zelenou páskou na zápěstí jsem se ocitl v tmavém prostoru zbrusu nově vystavěné newarkské arény Prudential Center. Přivedl mě sem newyorský muzikant Richard a já byl poprvé na koncertě E Street Bandu od památného vystoupení pro Vote For Change (2004), kdy Springsteen kvůli svému nekonečnému mentorování málem ochraptěl. Dneska se ale v rámci šňůry k albu Wrecking Ball s halami loučí. Stadiony, střezte se. Prozatím na něj čeká publikum domovského státu s nažhavenými chytrými telefony, aby konečně přivítalo návrat svého hrdiny. A najednou se zjeví a na fanoušky vybalí první překvapení večera, píseň, No Surrender‘, klasickou pecku z veleslavného alba Born In The USA, jehož se prodalo několik milionů. -
Bruce Springsteen Greetings from Asbury Park, NJ / The
Bruce Springsteen Greetings From Asbury Park, N. J. / The Wild, The Innocent And The E Street Shuffle mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Greetings From Asbury Park, N. J. / The Wild, The Innocent And The E Street Shuffle Country: Europe Released: 1991 Style: Rock & Roll, Classic Rock MP3 version RAR size: 1212 mb FLAC version RAR size: 1771 mb WMA version RAR size: 1645 mb Rating: 4.7 Votes: 546 Other Formats: DMF APE AU DXD AA MIDI MP2 Tracklist Hide Credits Greetings From Asbury Park, N. J. Blinded By The Light A1 5:04 Bass – Bruce SpringsteenPiano – Harold Wheeler A2 Growin' Up 3:05 A3 Mary Queen Of Arkansas 5:22 A4 Does This Bus Stop At 82nd Street? 2:05 A5 Lost In The Flood 5:18 The Angel B1 3:25 Double Bass [Upright] – Richard Davies* B2 For You 4:40 Spirit In The Night B3 3:14 Bass – Bruce SpringsteenPiano – Harold Wheeler B4 It's Hard To Be A Saint In The City 5:28 The Wild, The Innocent And The E Street Shuffle The E Street Shuffle C1 Baritone Saxophone – Albany "Al" TelloneCornet – Vini "Mad Dog" 4:31 Lopez*Soprano Saxophone – David L. Sancious* C2 4th Of July, Asbury Park (Sandy) 5:37 Kitty's Back C3 7:09 Organ – Danny FedericiOrgan [Solo] – David L. Sancious* C4 Wild Billy's Circus Story 4:47 Incident On 57th Street D1 7:45 Piano [Second] – Danny Federici D2 Rosalita (Come Out Tonight) 7:04 New York City Serenade D3 9:55 Strings – David Sancious Companies, etc. -
“THE DISTANCE BETWEEN AMERICAN REALITY and the AMERICAN DREAM”: BRUCE SPRINGSTEEN's AMERICAN JEREMIAD, 2002-2012 by Robert
“THE DISTANCE BETWEEN AMERICAN REALITY AND THE AMERICAN DREAM”: BRUCE SPRINGSTEEN’S AMERICAN JEREMIAD, 2002-2012 by Robert Scott McMillan A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in English Middle Tennessee State University December 2016 Dissertation Committee: Dr. Pete McCluskey, Chair Dr. Mischa Renfroe Dr. Patricia Bradley This dissertation is dedicated with all the love in my heart to my wife and eternal partner, Jennifer James, who is my dream, my miracle, my absolute joy, and the love of my life. This dissertation is also dedicated in memory of my parents, Bob and Martha McMillan who both instilled in me a true love of learning and the desire to pursue my dreams. ii ACKNOWLEDGEMENTS I would like to thank the members of my dissertation committee, Dr. Pete McCluskey, Dr. Mischa Renfroe, and Dr. Patricia Bradley for their patience and support of this project and for their many comments and helpful suggestions. I would also like to thank Dr. Kevin Donovan, the late Dr. David Lavery, and Dr. Rhonda McDaniel for their support. I would also like to thank my family at Volunteer State Community College for their encouragement and support of this dissertation, especially my friends and colleagues Laura Black, Dr. Carole Bucy, Dr. Joe Douglas, Dr. Mickey Hall, Dr. Merritt McKinney, and Dr. Shellie Michael, as well as Dean Phyllis Foley and Vice-President for Academic Affairs Dr. George Pimentel for the institutional support in support of this project. Finally, a special thank you to Bruce Springsteen. Elizabeth Wurtzel has described Springsteen as “a force of good, a presence of thoughtfulness” (73), and I believe these qualities come out in every song, album, performance, and speech. -
The Judgment of the Boss on Bossing the Judges: Bruce Springsteen, Judicial Independence, and the Rule of Law
Maurer School of Law: Indiana University Digital Repository @ Maurer Law Articles by Maurer Faculty Faculty Scholarship 2005 The Judgment of the Boss on Bossing the Judges: Bruce Springsteen, Judicial Independence, and the Rule of Law Charles G. Geyh Indiana University Maurer School of Law, [email protected] Follow this and additional works at: https://www.repository.law.indiana.edu/facpub Part of the Courts Commons, and the Judges Commons Recommended Citation Geyh, Charles G., "The Judgment of the Boss on Bossing the Judges: Bruce Springsteen, Judicial Independence, and the Rule of Law" (2005). Articles by Maurer Faculty. 302. https://www.repository.law.indiana.edu/facpub/302 This Article is brought to you for free and open access by the Faculty Scholarship at Digital Repository @ Maurer Law. It has been accepted for inclusion in Articles by Maurer Faculty by an authorized administrator of Digital Repository @ Maurer Law. For more information, please contact [email protected]. THE JUDGMENT OF THE BOSS ON BOSSING THE JUDGES: BRUCE SPRINGSTEEN, JUDICIAL INDEPENDENCE, AND THE RULE OF LAW Charles Gardner Geyh* Bruce Springsteen is among the greatest singer-songwriters of his age, and I am grateful to the organizers of this symposium for furnishing me with an excuse to write about his ideas. Mr. Springsteen's work, like that of every exceptional artist, has not remained static but has evolved over the course of his career. Of particular interest to me is the extent to which Mr. Springsteen's ideological journey, as chronicled in thirty years of song, tracks the ideological journey of American law in general, and the judicial role in particular, over the course of the Twentieth Century.