28.11.80 New York, NY, intro to “Two Hearts”
“Alright, New York (crowd cheers) it takes two…”
28.11.80 New York, NY, intro to “Factory”
“My father dropped out of high school when he was 16 years old… and after that the only time he ever got to travel or go anyplace was when he went…when he…went to the army and went to the World War II…and then he came home when he was, when he was still a very young man, I guess in his early twenties and…he took on the responsibilities of being a father and a husband…and…it wasn’t until I started to think back when I got to be about 29, I started to think back and try to understand what…my parents had done with their lives…that I understood the…the things that he gave up and the freedom he gave up so that I could have more so …”
28.11.80 New York, NY, intro to “For You”
“Alright, this…this is for that guy that requested it last night that I met after the show so…this is for all the old-timers (chuckles) (crowd cheers) let’s see if I remember these words…alright here we go…”
28.11.80 New York, NY, intro to “The Promised Land”
“This is for Tex…Tex and Marion, if you’re out there, and Georgie…”
[*Tex & Marion Vinyard and, I’d presume, George Theiss.]
28.11.80 New York, NY, after “Thunder Road”
“Clarence Clemons on the saxophone (crowd cheers) we’re gonna, we’re gonna take a short break, then we’re gonna come back and do another whole set for you, another whole show (crowd cheers) we’ll see you in a little while, alright? (crowd cheers)…”
28.11.80 New York, NY, intro to “Cadillac Ranch”
“Well, as I was motorvating back in town, I saw a big Cadillac sign, said “No money down,” well, I eased on the brakes and I pulled into drive and I gunned my motor twice and then I walked inside, well, Mrs. (?) said to me “Boss, trade in that Ford and I’ll put you in something that’ll eat up the road”…”
28.11.80 New York, NY, intro to “Fade Away”
“…come back into my arms again…listen to me, Baby…let me back into your arms again…won’t you let me…won’t you let me…won’t you let me…all I wanna do is come back home…I wanna hold you… squeeze you…I wanna…feel you, Baby…let your love light shine…I want the love light to shine back on us…back on to our home again …I wanna come back home again…oh, let me come back, Baby…”
28.11.80 New York, NY, intro to “The Ties That Bind”
“Can’t break the ties that bind (crowd cheers)…”
28.11.80 New York, NY, middle of “Ramrod”
“Give me the word now, Sugar, we’ll go ramrodding forevermore… (?)…boys…wait a minute…bring it down…now the boss don’t like me so he put me on the nightshift, takes me two hours to get back to where my baby lives, in the wee wee hours your mind gets hazy, radio relay towers take me to my baby, underneath the overpass trooper hits his light switch, goodnight, good luck, one, two, power shift…”
28.11.80 New York, NY, intro to “Drive All Night”
“Alright…this for Glenn…and (?) and…here’s to Joyce…”
[* Joyse Hyser, Bruce’s then girlfriend.]
28.11.80 New York, NY, intro to “Rosalita”
“Alright…in a little café…on the other side of the state line…she came walking through the door…and oh, she was looking so fine… then I heard the bartender say…”Bad news, Boss, here comes Jose”…(?)(chuckles)…
(…) On the piano, Professor Roy Bittan (crowd cheers) on the guitar, Miami Steve Van Zandt (crowd cheers) on the bass, Garry W. Tallent (crowd cheers) on the drums, the Mighty Max (crowd cheers) on the organ, Phantom Dan Federici (crowd cheers) and on the saxophone, Clarence Big Man Clemons (crowd cheers)…
(…) This is his last chance to let his little girl have some fun…’cause my brand new record, Rosie, made it all the way to number one, one, one, one…”
28.11.80 New York, NY, intro to “Sandy”
“This guy’s been yelling for this song in my ear all night back here so…Joe (chuckles) alright, ok…I don’t know the words ‘cause we haven’t played it, I’m gonna have to read these words but…”
28.11.80 New York, NY, intro to “Jungleland”
“I’ll do this for all the New Yorkers (crowd cheers)…”
28.11.80 New York, NY, middle of “Detroit Medley”
“Take it easy, boys…take it easy now…Big Man…I see it in the distance…and I hear it coming from a long way back…I see it in the distance… I hear a train (crowd: “Woo-woo”) I hear a train (crowd: “Woo-woo”) I hear a train (crowd: “Woo-woo”) I hear a train (crowd: “Woo-woo”) let’s travel…
(…) I see that conductor dressed in black…and he says “Ann Arbor, Michigan, all aboard…Detroit, Michigan, all aboard…St. Louis, Missouri, all aboard…(?) all aboard…Cincinnati, all aboard…Portland, Oregon, all aboard…Seattle, Washington, all aboard…Oakland, California, all aboard…Los Angeles, California, all aboard…Dallas, Texas, all aboard…Baton Rouge, Louisiana, all aboard…Largo, Maryland, all aboard…coming through New Jersey…New York City, New York, all aboard (crowd cheers) New York City, New York, all aboard (crowd cheers) I say it’s all aboard…all aboard…”
Compiled by : Johanna Pirttijärvi
