Scheduled: 20:00 Local Start Time ??:?? / End Time ??:??
Info & Setlist | Venue
First show of a six-night stand at New York City's Palladium. "Something In The Night" returns to the first version. "Growin' Up" includes a story about Catholic school. "Rosalita (Come Out Tonight)" includes a snippet of "Theme From Shaft" in the midsection.
No Handwritten or Printed Setlist available. |
incl. Rehearsals.
- 1978-09-17 Palladium, New York City, NY
- 1978-09-16 Palladium, New York City, NY
- 1978-09-15 Palladium, New York City, NY
- 1976-11-04 Palladium, New York City, NY
- 1976-11-03 Palladium, New York City, NY
- 1976-11-02 Palladium, New York City, NY
- 1976-10-30 Palladium, New York City, NY
- 1976-10-29 Palladium, New York City, NY
- 1976-10-28 Palladium, New York City, NY
© All credits to the original photographer. We do not monetize a photo in any way, but if you want your photo to be removed, let us know, and we will remove it.
Sorry, no Media available.
Audience tape. Two recording sources circulated, available on CDR from the master cassettes as part of the 'Original Master Series (Fanatic). A second source was put into circulation in March 2015 (mjk5510), "The Promise" from this source was also used on a bootleg single release of "The Promise / Because The Night".

28.10.76 New York City, NY, intro to ´It´s My Life´
´´I grew up….I grew up in this small town, in this, in this two-family house….next door to this gas-station and….used to have this roof right outside my bedroom window, at night….in the summertime I used to drag my mattress out onto the roof and….sleep outside and….gas-station used to close up around….around one o´clock in the morning, I remember all night long these cats in their cars used to pull in, they would meet somebody there, pull out, heading down Route 9….didn't know where they're going….and my Pop, he used to, every night, every night around nine o´clock, man, he used to shut off all the lights in the house….sit in the kitchen with a six-pack, smoke a cigarette, my mom, she used to sit in the front room, watch TV…till she fell asleep in the chair, wake up the next morning, just go to work…..and she worked, she was a, she was a secretary, she was a secretary, she worked downtown….and my Pop, he was, he was a guard down at the jail and he worked in this plastics´ factory for a while and….he worked in this rug mill till they closed it down….a lot of times he was in between jobs, he was just home…..and soon…..soon as I hit 16…..I used to head out up here, used to stay with some people I´d met, we'd just bum around in the street till the cops´d stop and ID, call your Pop, send you back home on the bus….and I remember I´d get off that bus and I´d walk through town….and I´d walk through town again and I´d come back and I´d walk through town again until, until I´d end up standing in my driveway and my Pop, he used to lock up the front door so that me and my sister couldn´t come in the front, we used to have to come in ´round through the kitchen so he´d see us….I remember I´d stand in the driveway and I could look through the screen door, I could see just the light of his cigarette, sittin' at the kitchen table…..I´d slick my hair back real tight, tight as I could, so he couldn´t tell how long it was, step up on the porch….try and slip through the kitchen before he, before he´d stop me….and he´d wait, I remember the old man´d wait until I hit that bottom step, when I hit that step, he´d call my name to come back…..come back to the kitchen table and sit down with him for a while….. and so, I remember I would sit down there at the kitchen table, he´d be telling me…..telling me things, I could always hear his voice….we were sittin' there in the dark…..but I remember….I remember I could never see his face…..he´d start off talking about easy things ….then he´d start asking me where I was getting my money from….who I was going out with, what I thought I was doing with myself….and we´d end up, we´d end up screaming at each other, my mother´d end up running in from the front room…..trying to keep us from fighting with each other, pulling him off me….I´d end up running out the backdoor, running out the backdoor screaming, telling him, telling him….how it was my life and I was gonna do what I wanted to do….´´
28.10.76 New York City, NY, intro to ´Something in the Night´
´´This song may or may not appear on this forthcoming album….(?)(chuckles)….there's a street down in Asbury, it's uh Kingsley Avenue and Ocean Avenue form this big oval….there's some guys' be drivin' around in that circle, this is called ´Something in the Night'….´´
28.10.76 New York City, NY, intro of ´Growin’Up´
I'd like to try (?), my mother always make me crazy wanting to hear it…and boy does she ever, (?) she says, it's her favorite, favorite song is uh…Tenth Avenue but she likes (?).
28.10.76 New York City, NY, middle of ´Growin’Up´
´´I remember….my mother, she….she made me go to this Catholic school, right….in the fifth grade, I used to run away about three times a year like down in the (?)….I remember Sisters used to chase me ….chase me home and my old man used to….chase me back to school…. and we’d get back there….and the nuns would say ‘Don’t you think, don’t you think, don’t you think he’d be happier some place else?’….and my father’d say ‘No, no, Sister, he´s having the time of his life right here’….and….I remember we were sitting in class one day and….and the Sisters said, they said ‘Uh, ok, uh…I wanna know what you guys all gonna be when youse grow up’, you know….and uh….she says ‘Ok, Johnny, what you wanna be?’, Johnny says ‘Sister, I wanna be a policeman and uh….give people tickets and….and stuff’….then she says to the ….to, ‘Ok, Mary, what you wanna be?’, says ‘Sister, I wanna be a nurse and uh, save people’s lives and stuff’….says ´Ted, what do you wanna be?’, ‘I wanna be a fireman and uh….save people’s color TV’s and….put out fires’, then she came to me and said ‘Bruce, man, what do you…. what do you wanna be?’, I remember I said, I said ‘Sister….uh, Sister ….Sister….I wanna be ….I wanna be….I wanna be….I wanna be a rock and roll star…´´
28.10.76 New York City, NY, intro to ´Rosalita´
´´(tunes his guitar for a long time)….Aw shit (chuckles) hey man, you think I´m gonna let a little thing like a guitar out of tune stop me? no, no (chukles) wherever you are….Rosie, come out tonight…..
(….) (?) we got a long list of stars with us tonight…..beginning, we´re gonna bring ´em up….
we´re gonna bring ´em up….I said….I said we´re gonna bring ´em up….gonna bring ´em up…. all the way from Philadelphia….the Miami Horns….remember that´s ´Miami´, this guy, the guy in the white suit over here Miami, they´re his buddies, they're Miami Horns….to the left….
Professor Roy Bittan….on guitar, how can I put it? artiste, composer, producer, man of many talents, poet of the soul, master of rock and roll, the magnificent Miami Steve (cheers) not too much, not too much he might quit….on the bass guitar, Mr.Garry W.Tallent….on the drums, representing all the folks from North Jersey, the Mighty Max….on the organ, now you see him, now you don´t…..Phantom Dan Federici…..last but not least….king of the world….. master of the universe….your next President….Mr.Hollywood….star of stage and screen….on the saxophone, the Big Man, Clarence Clemons….”
28.10.76 New York City, NY, intro to ´Sandy´
´´How many folks here from New Jersey ? (cheers) who´s from New York ? (cheers), New York's (?)…..I wanna thank everybody for coming down, coming down to the show tonight, thanks a lot and….I´m real sorry ´bout you know about being late and stuff…this is to you from Asbury Park…´´
28.10.76 New York City, NY, intro to ´A Fine, Fine Girl'
"I'm gonna get the Miami Horns back up here…"
28.10.76 New York City, NY, intro to ´Raise Your Hand'
"I want you to just…Raise Your Hand…"
28.10.76 New York City, NY, intro to ´The Promise´
"Ah, a piano problem (chuckles), this is a song, let me fix this thing here…this is a new song uh…I'll try and get it right tonight (chuckles), see if, if I can…it's called The Promise (?)…one, two, three, four…"
28.10.76 New York City, NY, intro to ´Born To Run´
"good luck, good night, this is for Patti (Patti Smith), one, two…"
Compiled by : Johanna Pirttijärvi
Sorry, no Eyewitness-report available.
© All credits to the original photographer. We do not monetize a photo in any way, but if you want your photo to be removed, let us know, and we will remove it.
Springsteen, Cocky and Tireless, Asserts Flamboyant Ebullience |
The two‐hour show that Bruce Springsteen offered Thursday night at the Palladium—the first of six there—could not be called one of his best. it was still good enough to reassert his credentials as about the most exciting, satisfying performer in present‐day rock‐androil.
Mr. Springsteen has performed in the New York area since late last summer, when his Bottom Line engagement inaugurated the by now too‐well‐known publicity blitz that helped propel him to stardom. But these were his first dates in New York proper since then, and they indicated Mr. Springsteen is both growing and remaining true to his roots.
What Mr. Springsteen's roots are, beyond his fervent identification with Asbury Park and Jersey Shore mythology, is open to argument, and the reason is the very richness of them. He is at the same time a rocker and a wistful singersongwriter, a 60's rhythm‐andblues nostalgist, and a Broadway balladeer.
On Thursday, in addition, he was toying with some of the instrumental passages with an almost Pink Floydish sci‐fi‐rock sound, full of echoing, spacy guitar and keyboard textures. And without undercutting the punchy energy of his rock, the ornate lavishness of his arrangements was more striking than either — in addition to the ever‐present glockenspiel doubling the complex keyboard lines, there were four extra hornplayers on hand. One Springsteenian in the audience suggested that the next step would have to be a full orchestra, and maybe he had a point
But the image of an orchestra would be suspect. The best moments Thursday came when the newly beardless Mr. Springsteen was mustering the full flamboyance of his strutting‐punk act. Cocky and tireless, he projects about the greatest ebullience of any performer around these days, and makes an almost ideal visual complement of his own street poetry.
The problems at the opening show began with a technical snag, which involved a link between a diesel generator out on the street and Mr. Springsteen's sound systern and which delayed the show an hour. Once the proceedings got under way, Mr. Springsteen seemed tenser than usual, and it was not until “Thunder Road,” more than half an hour into the show, that he bit his stride.
Thereafter there were ups and downs. Although the ups were very fine, the show never really swept along to the climaxes that mark the very best Springsteen shows. Part of that could be attributed to little things. The complex, theatrical lighting Mr. Springsteen uses looked a little too tricky at times, and the sound mix seemed both murky and balanced against the crucial saxophone lines of Clarence Clemons.
Still, there teas an enormous amount to enjoy. The E Street band is still as superb as it always has been. Mr. Springsteen's assortment of oldies — which included The Animals’ “It's My Life,” Darlene Love's “Fine, Fine, Fine” and Eddie Floyd's “Raise Your Hand” — was as infectious as ever, and his three new songs “Rendezvous,” “Something in the Night” and “The Promise” — all suggested that Mr. Springsteen is in no danger of drying up as a songwriter, The songs he's already written are a guaranteed source of pleasure.
Perhaps we can chalk up some of the failings on Thursday to nerves. Or perhaps it is to Mr. Springsteen's credit that his performances are variable. There is an element of calculation and a surfeit of talent to guarantee a certain level of quality all the time. But he still leaves himself room for inspiration, and one trusts that subsequent shows in this current run will reach heights not attained on Thursday.
By John Rockwell via The New York Times. |
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