I have legalised robbery, called it belief

The Rock and Roll Hall of Fame is a strange thing that I reckon probably means more in the States than it does here. I think it’s a lot of backslapping really but seems like excuse enough for a good bout of entertainment each year as those acts inducted – depending on which member is still not speaking to another for perceived slights / lawsuits / wife fondling or other – blast through a couple of their most well-known numbers.

While I’m sure many a musical press headline will be given over to whether an estranged guitarist will rejoin his former New Jersey bandmates and plug in his talkbox, the really interesting one for me is the induction of Dire Straits.

Aside from seeing a very British band being pulled into a distinctly American ritual, the big question is whether or not Mark Knopfler will decide this is reason enough to play with those other members that are being inducted.

Given that one of those members being inducted is his brother David, who left the band all the way back in 1980 and the two have barely spoken since – it makes for quite the plot twist. While original drummer Pick Withers left in 1983 his departure was an amicable one so I doubt any issue would arise there. Of course there’s no doubt bass player, and the only other member to have been a constant, John Illsley is up for it: he’s said as much to press since the announcement and, to me, seems like the Nick Mason of the band – always up for the reunion that isn’t in his power to call.

It’s odd that Dire Straits are being inducted at all, in a way. It’s probably evidence that the “fan ballot” is now being considered, I suppose (and who would’ve pinned Dire Straits as getting that many votes?), but while there’s no denying their talent and popularity (how many people have a cd with a shimmering National Resonator on the cover? Thirty odd million?) they never seemed likely contenders for such a… recognition.

In a way they were never cool. My wife recently said – while not faulting them – they were a bit “boring.” It’s certainly true that they were never really innovators or swore on national tv or that Knopfler’s image was permanently removed from any possibility of cool thanks to those sweatbands, but I find it odd they don’t get much recognition in the same way so many other bands of that era have been offered in the urgency to bestow “legendary” status on those bands music writers remember from childhood. Rolling Stone put it succinctly “it might be a stretch to expect [millennials] to understand how band frontman Mark Knopfler, a balding thirtysomething given to wearing headbands and wristbands, used to  fill arenas full of young people. Pop stars don’t really look like dads as much as they used to. ”

I guess they’re just not ‘cool’ enough to be mentioned as influences or remembered beyond ‘Money for Nothing’ or ‘Sultans of Swing’ as far as radio programmers go.

Which is a real shame. I grew up with a grey TDK mixtape of their first four albums on heavy rotation in my Dad’s car so they form an important part of my musical education and, as I’ve said before – they’re all too often sneered at though I’m sure there’s an awful lot of guitarists and bands influenced by Knopfler’s playing. If it wouldn’t be counter-productive I’d give my right hand to play some of those licks and master that tone (I remember spending a huge amount of time learning ‘Private Investigations’).

They weren’t just four (or five or six depending on the time you caught them) blokes that looked like your geography teacher playing in a pub band. They lasted as long as they did – going against the flow of punk, new romantics and synthpop and fucking Duran Duran – and sold as many records as they did because behind the deceptively laid back phrasing and style there’s a master songwriter and formidable guitar player at work in Dire Straits’ back catalogue and to refute that is just plain ignorant. So – regardless of whether some format of the band gets up and plays ‘Romeo and Juliet’ one more time – I’m glad to see them being inducted. Well deserved.

That being said I am rooting for Knopfler, Illsley and Withers to at least play together one more time and put the thing to bed properly.

In the spirit of trying to get away from the obvious, here’s a playlist of a baker’s dozen ‘non-regulation’ tracks that you won’t find spun on radio but really should.



Out of Europe: Five from Belgium

As the idiots currently keeping their overpaid, corpulent backsides on the green benches in the Houses of Parliament continue making a complete and utter shite show of the political equivalent of chewing on a live hand grenade, I thought it time to rock up with another Out of Europe post.

And where better to rock up to, as it were, than Belgium? One of the smaller countries in Europe but densely populated and which also happens to be a seat of the European Parliament – cue the brainless barks of “our laws shouldn’t be made in Brussels”. I’ve only spent a couple of days in Belgium and that was in Brussels so I’ve yet to see what I’m told are the beautiful towns of Bruges or Ghent but I’m sure that can be easily fixed.

I will say that one of the real joys of this series I seem to have set myself (whether I can find five from every other member of the EU) is exploring those countries’ music and discovering acts I’d otherwise have had no awareness of. So while Girls in Hawaii and the obvious honourable mention here, and to some extent dEUS, were familiar to me the joy of getting new music and culture into my ears continues and continues to highlight what an absolute twatting pile of excrement the ‘leave’ vote really was.

Girls in Hawaii – Here I Belong

One of the few Belgian bands I knew… my wife got the first Girls in Hawaii (2005’s From Here To There album while she was living in France and so it has a special place in my heart as it soundtracked a lot of our driving about that country. A couple of years after their second album their drummer was killed in a car accident and it was a few years before they regrouped. I’ve not yet checked out their new album but this is from their third album Everest and while not as upbeat as their usual offering I love the slow build and pace of this one.

Plastic Bertrand – Ça plane pour moi

Because who hasn’t heard this? It sold nearly a million copies and Plastic Bertrand sits as one of Belgium’s biggest selling musicians with 20 million plus sales.

dEUS – Quatre Mains

dEUS were the first Belgian-based indie band to sign to a major record label and this one kicks off their most recent (2012) album of French-language rock.

Gorki – Red Mijn Ziel Vooral

So the whole language thing in Belgium is a bit of an odd one – the country seems split between French-speaking and Dutch-speaking. So, in the interests of fairness, I was hunting for a Belgian band that sang in Dutch. My digging lead me to Gorki who kicked off in 1991 with their breakthrough ‘Anja’ and follow up ‘Mia’ which appears to have dominated Belgian charts for some time. They kept at it for another twenty years only coming to an untimely end in 2014 when their singer, Luc De Vos, was found dead in his working apartment from acute organ failure. I’d already been struck by the moving sound of this one before I read that far and it seems to add something to the sense of longing in his voice.

Cecilia::Eyes – For The Fallen

Belgian post-rock? Go on then. I’ve been enjoying Cecilia::Eyes’ second album the last couple of days, Here Dead We Lie which seems to have a strong world war two theme, think Pink Floyd’s Final Cut. On second thought – don’t, that one is pretty shit. Thankfully most of this genre is devoid of words so there’s no chance of Roger Waters droning on painfully over the top of it.

Honourable Mentions go to Mintzkov’s ‘Life After Fire‘, De Portables’ ‘Col Phillins‘ and, of course:

Django Reinhardt – I’ll See You In My Dreams

Django Reinhardt nearly lost his life when the caravan he and his wife lived in caught fire when he knocked over a candle on his way to bed. His right leg was paralysed, and the fourth and fifth fingers of his left hand were badly burned. They wanted to take his leg. He told em arseholes and left the hospital and was walking within a year. The use of his fingers didn’t return, though, so he developed  a new technique which become known as ‘gyspy jazz’ and, to quote Wikipedia, his ” innovations on the guitar helped elevated it above its prior position as usually only a rhythm instrument.”

Current Spins

Oops, been a while, again.

There’s been a few slabs of wax that have slipped into the racks of late and have been in fairly regular rotation so, along with those, here’s a little gander at what’s going in the old earbuds of late…

Pearl Jam – Let’s Play Two

This one I’d forgotten pre-ordering so was quite surprised when it arrived.Let’s Play Two is the ‘soundtrack’ to the upcoming concert film / basebell love-in of the same name. I’m not one for sports in general and baseball is a uniquely American currency I think so I’m not too excited about the film. While neither the best soundtrack to a PJ film (that’d be Pearl Jam Twenty) or a great Pearl Jam live album, Let’s Play Two is still a worthy listen given that Pearl Jam are one of the best live acts still giving it their all and while the song selection is slight – the band played over thirty songs each night – and not in true concert order, you can’t argue with a great rendering of ‘Given To Fly’, ‘Release’ and one of my own favourites, ‘Inside Job’.

Various – Twin Peaks (Music from the Limited Event Series)

While I still don’t really know what to make of either the majority of the series or the finale to the revival of Twin Peaks – aside from it being Lynch’s take on not wanting things to get old / pass – the soundtrack is a great thing. This one – as opposed to the score – is made up from songs played at the Big Bang Bar at the end of the episode along with a couple of those that featured elsewhere including the stellar Live From Monterey Pop recording I’ve Been Loving You Too Long by Otis Redding. Of course, there’s a couple – particularly the ridiculous inclusion of ‘Just You’ – that aren’t what I’d call top drawer but with tracks like Eddie Vedder’s exclusive ‘Out of Sand’, Rebekah Del Rio’s outstanding ‘No Stars’ there’s a lot of strong songs on here that have ensured this has received a few rotations.

The Replacements – For Sale: Live At Maxwell’s 1986

“THE REPLACEMENTS TO RELEASE FIRST OFFICIAL LIVE ALBUM (RECORDED IN FRONT OF MORE THAN 30 PEOPLE)” said the sticker on the front of this one. This live recording – forgotten about / lost until earlier this year captured the band at a turning point; their first major label album just out, just ahead of the firing of original guitarist Bob Stinson. A 29 song setlist that captures, as one review puts is succinctly, the “moment when the tug-of-war between the Replacements’ split personalities—the perma-blotto garage band vs. the refined rock craftsmen—had escalated into a bloody battle.”

Tom Petty – You Wreck Me

For reasons sadly obvious

Out of Europe: An Irish Top Five

Of all the stupidity and upheaval that the colossal butt-fuck of an idea called ‘Brexit’ that so many fools were goaded and misled into voting for is likely to cause, one of the biggest potential quagmires is the border between Northern Ireland and the Republic of Ireland, thrown into even greater murk by that soulless banshee May’s desperate tactic of clinging to power by giving a massive bung to the D.U.P in utter disregard to the issues it throws up with the Good Friday Agreement.

As such I thought it fitting for this Out of Europe series to draw up a quick Top Five from Ireland who, while we continue to be lead blindfolded into a dead end, will remain in the blissful embrace of Europe. And, as we’ll be tearing Northern Ireland down with us, acts from that island’s north east tip don’t qualify.

My Bloody Valentine – Only Shallow

Formed in Dublin in 1983(!), My Bloody Valentine’s opus Loveless took two years to record (that’s nothing, it would be 27 years before they followed it up) and its extensive production costs got them dropped from their label but, fuck me, it’s amazing.

God Is An Astronaut – Forever Lost

A post-rock band who’s sound, according to that fabled source Wikipedia, “employs elements of electronic music, krautrock, and space rock.” I cannot for the life of me remember how I found them but I’d often listen to their second album – which this is from – at the gym.

Damien Rice – Rootless Tree

Success is often a real fucker. Look at what it did to Kurt Cobain. Damien Rice seems similarly unimpressed by it. When songs like ‘Canonball’ and ‘Blower’s Daughter’ pushed his solo debut O into so many peoples’ cd collections he withdrew and pushed against the tide. He’d only wanted to make the one album but his label pressed him into releasing 9 (from which this is taken) which leaned a little darker and met massively mixed reviews. It would be another 8 years before he dropped anything else. I like the line “fuck you, fuck you, love you and all we’ve been through.”

The Frames – Revelate

Dublin’s Glen Hansard is a busy chap. Aside from a solid solo career and frequent touring supporting and playing with Eddie Vedder he’s part of the folk-rock duo The Swell Season and continues to front the Irish rock band The Frames which he started in 1990. Oh, and he acts too – he starred in the film ‘Once’ and some other film called ‘The Commitments‘.

U2 – Until The End of the World

This band is certainly more of a cult act, probably little-known outside of Ireland. Despite what I can only assume are poor-to-middling sales they’ve been around a while now occasionally flirting with some good write-ups in the local press, bad haircuts and have even played a few venues outside of their native Dublin despite their singer’s clearly shy and introverted demeanour.

Honourable mentions to the blues of Rory Gallager and The Cranberries’ Dreams

Great Compilations: Anthology: Through The Years, Tom Petty and the Heartbreakers

In keeping with the general sense of procrastination that pervades my attempts at a series of posts, it’s been a while since I first chewed over kicking off this one, looking at those great compilations in my collection. Those that are as close to perfect and essential as you can get. That do that rare thing of providing as solid, all-encompassing an overview as is possible in a dozen or so tracks in a manner that will provide a great entry-point for the uninitiated and give the already-converted a good career-spanner to listen to when they don’t feel like going through whole-albums.

These are inevitably some of the most well played volumes on my shelves and have served as starting points that have introduced me to many a loved band.  That’s certainly the case with Tom Petty and the Heartbreakers’ Anthology: Through The Years.

Back in 2000 I didn’t really know much of Mr Petty’s back catalogue and was looking for a suitable entry point. It’s worth pointing out that while the chaps from Gainesville, Florida have certainly enjoyed some success in Europe and the UK specifically, they’re a much more American proposition than, say, Springsteen, so it’s understandable that at the tail-end of my teens I was unaware of the bulk of their songs. Fortunately I was still in the habit of reading a monthly music magazine* and just as Uncut had turned me on to other bands, it was the stuffed-with-praise review for the upcoming Anthology: Through The Years compilation that meant I parted with cash.

It’s also worth pointing out that there was already a pretty serviceable Greatest Hits album available but, for some reason, that 1993 release never appealed. Perhaps it was the cover, perhaps it was the inclusion of ‘Something In The Air’** .. who knows but Anthology: Through The Years was my introduction to the music of Tom Petty and the Heartbreakers beyond the ubiquitous ‘Free Fallin’.

Now, here’s the thing with the songs on here; I didn’t know the vast majority of them and yet after one listen they felt like old friends. Like songs I’d known for years. Petty has a way of crafting instantly memorable and catchy-as-a-cold tunes that’s very rare and highly addictive. Yeah, everyone and his dog knows ‘Free Fallin’ but to hear ‘The Waiting‘ or ‘Mary Jane’s Last Dance’ for the first time is to know them as the classics they are; once they’re in your system they stay there.

The track listing is as perfect as you can get without a nitpicking committee. Despite it’s being released in 2000, there’s nothing here really newer than ’95 so the discs are divided up to cover the two ten-year periods from their ’76 début, the format better serving the band’s impressive catalogue than a single disc ever could.

The first disc, spanning ‘Breakdown’ to ‘Change of Heart’ pulled my attention first and probably still gets more plays. This one was the discovery for me, classics like ‘American Girl’ (I’d not watched ‘Silence of the Lambs’), ‘Even the Losers‘, ‘Refugee’ all tearing into my ears and the beautiful ache of ‘The Wild One, Forever’.

The second disc is stuffed to burst with FM classics – five from Full Moon Fever and a handful from Into The Great Wide Open that are always going to sound good whether they’re being played to a stadium or via a car stereo in traffic. For me, though, the real draw are songs like ‘Mary Jane’s Last Dance’, ‘Waitin’ For Tonight‘, ‘It’ll All Work Out’ or ‘The Best of Everything’ from the sublime Southern Accents.

Looking at the track listing for this is almost like picking out an ideal set list and there’s not much more you could look for in a compilation.

It was an odd time for release, one year on from the under-appreciated Echo*** and not featuring a single track from that release. I’m sure ‘Room At The Top‘ could’ve fitted nicely on here.  They even dusted off a previously unrecorded tune from 1977 to add something for the completests with ‘Surrender’ but couldn’t find room for anything from that one. In hindsight the eight year gap between the lacklustre The Last DJ and return-to-form Mojo would’ve been the ideal place for such a retrospective. In fact they did release a four-disc live compilation that served just that purpose.

I’ve gone on to stock my shelves with a fair amount from Tom Petty both solo and with the Heartbreakers. If I’m being picky I’d wonder – as Cameron Crowe’s linear notes do – whether there could be space for a track from Wildflowers or even from She’s The One but then it’s hard to imagine a better summary of the Heartbreakers’ then 25-year career than this one.

Instead of copying and pasting the tracklisting, I’ll drop the whole thing via Spotify.

I’ll end this one with the tune I think is the real glaring omission, the perfect title track from Southern Accents:

*A habit long-since abandoned.

**Overplayed and I’m still not that much of a fan of it. Though the remastered version in 2008 swapped it out for ‘Stop Draggin’ My Heart Around’ so I can’t be alone in that.

***Petty’s divorce album.

Tracks: Most of the Time

I can smile in the face of mankind
Don’t even remember what her lips felt like on mine
Most of the time.

How on earth do you begin to chose one track to talk about by an artist like Bob Dylan? A man with thirty-eight studio albums, twelve instalments into the  Bootleg Series.. probably close to three hundred original compositions to chose from. Given that I can go on jags of listening to very little but Bob it’s a near impossible task to think of even a Top Five as that could change on a day-to-day.

Thankfully, that’s not the purpose of these infrequent Tracks posts. It’s more a case of highlighting particular favourites, those ‘always on the play’ songs and, in this instance, from the 1989 Oh Mercy album that’s ‘Most of the Time’. *

My first introduction to this shimmering, atmospheric beauty came via the film ‘High Fidelity’. We’re talking the year 2000. My Dylan awareness and collection is growing but there were – and still are – gaps. One of which was his work in the 80’s. You can’t blame me, I’m far from alone in not really digging his religious albums and while I now think Infidels is a pretty solid album, the three that followed it weren’t and that period didn’t exactly sit on the same priority-purchase list as Blonde on Blonde, Highway 61 Revisited or Desire did at the time (I’ve still not added those missing 80’s discs to my collection).

So when John Cussack sat soaked on a bench in the pissing rain in a moment of cod-psychology realisation** and a slow-burner song with what sounded very much like Dylan singing over it came through the speakers I had to find out what it was. I mean, shit, they only used a minute of it at most in the film. I scoured the track-listing on the soundtrack when it came out and found ‘Most of the Time’ sandwiched between songs by Love and Sheila Nicholls. But… for reasons unknown didn’t buy it. Perhaps my student loan hadn’t arrived yet or perhaps I’d actually used it for tuition and course books. Either way, it was a few more years before I added Oh Mercy to my collection and fell in love with it all over again.

Oh Mercy is one hell of a fine album by anyone’s standards. For Bob Dylan it represented something of a comeback both commercially and critically. The songs one here are as good as his earlier high standards and Daniel Lanois does a bang up job with the production. Oddly enough, close to a decade later with Dylan’s appeal on the wane again after two albums of covers it would be Lanois who he turned to to produce Time Out of Mind to further acclaim.

Kicking off the second half of the album, ‘Most of the Time’ is perhaps the lushest track on it in terms of production  but the lyrics are what get me. That caveat… “I don’t even notice  she’s gone… most of the time” and it’s implications…. Direct, relatable, to the gut. Dylan (as he indicated in Chronicles Volume One***) was really on a streak, suddenly, with the writing on Oh Mercy – as  The Bootleg Series Volumes 1–3 would show; even the outtakes were strong – but for me ‘Most of the Time’ is the best thing on it.


*In another it could easily be ‘Tangled Up In Blue’ or ‘Love Sick’ but never ‘Wiggle, Wiggle’.

**I liked the film, though as I get older less so, soundtrack aside. The book on the other hand… the character is a complete and utter twat and I had zero interest or compassion for the prize prick.

***Though it’s been suggested that the Oh Mercy section of the book is pure fiction.

Bruce Springsteen – LA Sports Arena, California 1988

Just when I thought I was out… they pull me back in!

How? Well with a facebook post announcing that as it’s Mother’s Day in the US, Springsteen’s live archive series was available for half price – I’m still not sure I see the connection with the two but what the hell, I’d toyed with the idea of downloading one for a while and while the £ to $ ratio is a bit up and down depending on Maggie May or Putin’s Cock Holder, it still meant the idea of downloading a full concert for less than £4 was too good an opportunity to miss.

Which means that after something of a Bruce diet I found myself scrolling through the available shows and settling upon one from 1988 – from the Los Angeles Sports Arena, April 23rd to be precise. A 31 song setlist for less for around 10p a song.

Why this one, and not – say – the earlier peak-period concerts from, say ’75 or ’78? I reckon Hammersmith Odeon, London ’75 and the live concerts captured on The Promise: The Darkness on the Edge of Town Story, not to mention Live/1975–85 do a pretty good job of covering that era while anything post re-union I fancy hearing is also well documented with the Live In New York City and Hyde Park releases. The thing about all of those post-Tunnel Of Love releases, though, is that not a single tune from that album is represented. Given that I believe these represent some of his best, most insightful songs of his career, getting a high-quality concert from that era seemed like a no-brainer for me.

So.. with that in mind; is it any good? First thing – the sound quality is spot on and I only plumped up for the basic MP3s. And, having spent a couple of days with it now I can tell you that yes, it bloody well is good. I wouldn’t call it an essential live album but it’s a fascinating and at times brilliant concert and I would call it essential listening for a Bruce fan.

I say fascinating because the Tunnel of Love Express Tour found Bruce in a transitional phase. He was seemingly tired of the E Street and Bruuuuuce of old and was trying – perhaps in an interest to keep himself interested as much as give the audience something different – to mix things up. The venues were smaller than the megadomes of Bossmania and songs that had been setlist staples were culled in place of obscure b-sides (opener ‘Tunnel of Love’ was followed not by a crowd-shaker like ‘Badlands’ but by the weaker* ‘Be True’) and covers, band members were shuffled into different places – Max Weinberg was moved from centre to the side and Patti Scialfa was bought to a more prominent position, becoming more of a foil than Clarence Clemons. The positioning and role of Patti Scialfa caused much conversation at the time for obvious reasons.

Oh and, in a further effort to distance the work and tour from his former music, Bruce added a horn section – The Horns of Love. Those horns aren’t something I enjoy listening to, I’ll be honest. They trample all over ‘Adam Raised A Cain’ and their toots and parps over ‘Dancing in the Dark’ and ‘Glory Days’ don’t do anything for me. I reckon it would be a while before Bruce really figured out how to add the extended horn section into his live set-up**.

The shows on this tour were also stripped of on-stage spontaneity and the setlists were much more rigid. There’s also some strange moments – very rehearsed and repeated nightly – that make for odd listening. Whereas Live 1975/1985 featured the “Bruce’s Vietnam Dodge” story or tales about his relationship with his father, LA Sports Arena, California 1988 features a surreal 8-minute long ‘caper’ with Bruce and Clarence sitting on a park bench talking about ‘adult’ subjects such as marriage and kids in the build up to a horn-addled  All That Heaven Will Allow’. In fact the video below shows just that scene as well as the fact that it’s the same routine every night***.

But but but. Do not get me wrong. This is still a great live show. It’s fucking Springsteen after all and even with the sense of drama and fascinating confusion that shadow it this set is bloody good. Just check out the track listing:

Set One
“Tunnel of Love”
“Be True”
“Adam Raised a Cain”
“Two Faces”
“All That Heaven Will Allow”
“Cover Me”
“Brilliant Disguise”
“Spare Parts”
“War ”
“Born in the U.S.A.”

Set Two
“Tougher Than the Rest”
“Ain’t Got You”
“She’s the One”
“You Can Look (But You Better Not Touch)”
“I’m a Coward”
“I’m on Fire”
“One Step Up”
“Part Man, Part Monkey”
“Dancing in the Dark”
“Light of Day”

First Encore
“Happy Birthday to Roy Orbison”
“Born to Run”
“Hungry Heart”
“Glory Days”
“Rosalita (Come Out Tonight)”

Second Encore
“Have Love, Will Travel”
“Tenth Avenue Freeze Out”
“Sweet Soul Music”
“Raise Your Hand”

Yes; that is ‘Roulette’ sitting in there rubbing shoulders with a searing version of ‘Seeds’. Yes; that’s 8 songs from Tunnel of Love and they all hold their ground with some of the heavy weights of Bruce’s catalogue, specifically the meld of ‘Ain’t Got You’ into ‘She’s the One’. Video again taken from another night but…

There’s no ‘Thunder Road’ or ‘Badlands’ and ‘Born To Run’ is the acoustic recasting that would also feature on the Chimes of Freedom EP later that year but, with his desire to present his newer music in a more serious, less Bruuuuce light seemingly sated toward the end of the second set, Springsteen’s classics deliver in the same crowd delighting way they always did and will – ‘Backstreets’ is dedicated to the fans and they react accordingly and when ‘Rosalita’ kicks in the roof is torn off (Bruce making a point by singing “you don’t have to call me lieutenant Rosie.. But. Don’t. Call. Me. BOSS”). The songs from Tunnel of Love were already well known to the audience – the album had been out a good six months by now – and cuts such as ‘Brilliant Disguise’, ‘One Step Up’ and even ‘Two Faces’  are met by rapturous applause and, with the band now well broken in on the tunes and their roles (this was still only Scialfa and Nils Lofgren’s second tour), delivered as strong as the deeper cuts. ‘Spare Parts’, once its oh-so-80s piano intro is done, rips along like the scorcher it is on record.

Tunnel of Love was a near-perfect album that captured Bruce at his most insightful and human. The tour that followed marked not only the live casting of these songs but an artist trying to recast himself too. This tour would be the last time he would play with the E Street Band until 1999, he would shortly divorce his wife and begin a lasting relationship with Patti Scialfa, spend time attending to his personal life and his inner turmoil, taking a five year break from his career in the process. As such LA Sports Arena, California 1988 makes for a fascinating and captivating listen capturing the end of an era, the closing of the first chapter of Bruce Springsteen and the E Street Band. I’ll be listening again for sure, £4 well spent.

*In comparison to the wealth of B-Sides he could’ve chosen but then I believe it was part of the ‘relationships’ theme of the show.

**I still don’t think they’re necessary. Live the E Street Band is one of the unstoppable, unbeatable things that doesn’t need padding out. It tears the roof off when in no-frills mode.

***Again, nothing that new, I read a piece in Rolling Stone from the Magic tour rehearsals that detailed that all of the gestures and interactions are pre-rehearsed rather than ad-libbed but then that’s not an 8 minute ‘bit’ involving a park bench.