Boston Music Hall - March 23, 1977 (JEMS ; Steve Hopkins’ Master Tapes)

Sunday, 1 July 2012


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MP3 (.RAR)


Available until 29.07.2012

  • Brucebase Info (23.03.1977)

Audience tape available on CDR 'Are You Prepared For A Heart Attack' and 'Incident In Boston' (Ev2). A 2012 JEMS transfer from Steve Hopkins' master tapes is also available - the sound is a revelation, and a must-listen. Second night in Boston and another fine show - "Incident On 57th Street" replaces "It's My Life" and works so well it is retained for the final two shows. The Righteous Brothers' "Little Latin Lupe Lu" is played for the first time. "Rosalita (Come Out Tonight)" features a snippet of "Theme From Shaft" in the midsection. You can view Peter Howes' fantastic photos by clicking on the link above.

  • Thanks
steve remastered-JeMSfaatic

Boston Music Hall - March 23, 1977 JEMS ; STEVE HOPKINS’ MASTER TAPES


23.03.1977 - Music Hall, Boston, MA

Disc 1

01. Night
02. Don't Look Back
03. Spirit in the Night
04. Incident on 57th Street
05. Thunder Road
06. Mona / She's the One
07. Tenth Avenue Freeze-out
08. Growin' Up
09. Backstreets

Disc 2

01. Jungleland 
02. Rosalita 
03. Born to Run 
04. Quarter to Three 
05. Little Latin Lupe Lu 
06. You Can't Sit Down


Night two of what I call Springsteen's greatest concert stand ever brought with it some setlist changes. "Incident on 57th Street" replaces "It's My Life," and while I am admittedly something of an "Incident" apologist, it will grow to be a stronger performance nights three and four. "Action in the Streets" takes a seat on the bench in favor of a lively "Growin' Up." And "The Promise" departs to make room for the debut of "Little Latin Lupe Lu," giving us an encore that is truly a non-stop party.


"Don't Look Back" is even stronger this night and its lyrics are further cemented vs. night one. And like night one, the show is again peppered with moments where Bruce is pushing his performance to staggering heights. He even changes his vocal delivery in "Thunder Road" as the moment moves him.


Our friend Mr. Hopkins switched sides of the house for the this and the next two shows, sitting 5-10 rows back of the stage left PA stack. As good as his recording of 3/22 was, this might be just a tiny bit better. Every second Steve recorded, including the applause breaks, has been preserved.


As folks who have recorded so many shows ourselves and mastered many recordings from the original tapes, I can't tell you how fantastic Steve's actual masters are. First of all, the sound in the venue must have been incredible to begin with. You can hear each instrument with uncanny clarity even when they are all blasting away together. And Hopkins' location, mic, recorder and taper acumen are all dialed in perfectly to capture that majestic sound. We often say things like, "It would be difficult to record a show this well today." I'm here to tell you that you couldn't. I couldn't. It can't be done. Despite all the improvements in technology and theoretically in live-sound reinforcement, too, ''77 sounds way better than 2012.


The Boston '77 run will return.


/BK for JEMS

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