05.05.81 Drammen, Norway, intro to “Independence Day”
‘‘This is…this is called “Independence Day” (crowd cheers) I need, I need a little quiet for this one, thank you…(intro music starts)…I grew up…in this, in this little town…and it was only about ten thousand people…and I had a bedroom that was out over the backyard…and in the morning around six am, I always remember my old man getting up…and going out back, trying to…start one of the two hundred dollar cars he bought, trying to get it started, laying on the cold ground, trying to get to work…and…as I got older, I looked around and I seen that there was nothing that was gonna, that was gonna keep…keep me from ending up the same way, working out my life in…in either the rug mill or the coffee factory…and I started to look around and wonder why, why was it that my father worked in a factory and why his father before him worked in a factory…and how it seemed like there was never… there was never an end…and when I looked at us, I realised that the one thing that we had in common was that we didn’t know enough about ourselves…and in school, we weren’t taught the things that we needed to be able to rise above the situation we were living in…and I was lucky because…I’ll see you later (chuckles)(laughs from the crowd)…I was lucky because I had…on the radio when I started listening, when I was 15 or 16 years old…I heard something…something in, in those songs that my old man, during his whole life, he never heard anyplace…and in all that early rock and roll music, there was like, there was a promise…and it was a promise, it was just a promise of a right to a life…and I used to wish that I could’ve went downstairs at night when my old man was sitting in the kitchen and got him…and said like “Listen to this…because it’ll fill you up inside…and it’ll make you feel, make you feel human again”…but…but by that time it was too…it was like it was too late for him, he’d been disappointed too much and kicked down too much…but it ain’t too late…it wasn’t too late for me and it’s not too late…too late for you…but you gotta listen and you gotta fight…inside…”
05.05.81 Drammen, Norway, intro to “Who’ll Stop the Rain?”
“This is a song…recorded in the early, early seventies by a band called Creedence Clearwater Revival…but…it’s a question that…it seems with all the stuff going on in the world now, it’s more important now than ever…”
05.05.81 Drammen, Norway, intro to “This Land Is Your Land”
‘‘This is a song…this is a song that was written by, by Woody Guthrie, it’s…in the States when times, times get hard and there’s a lot of, lot of unemployment…there’s always a resurgence of…of groups like, uh, Ku Klux Klan and the National Socialists…and this is a song that was written…was written as an, as an answer, an angry answer tothis song called “God Bless America” and…it wasn’t, it wasn’t about, about flag-waving or, or, or phoney kind of patriotism that, that a lot of these groups hide behind, their phoney nationalism…it was about just the right of, of every man to live free (crowd cheers) and…it’s a dream…but I think it’s a dream that’s in the hearts of people, people all over the world so it’s not a song just…”
05.05.81 Drammen, Norway, after “Thunder Road”
“We’re gonna take a short break, then we’re gonna be back and do another whole set for you (crowd cheers) so we’ll see you in a little while, ok? (crowd cheers)…”
05.05.81 Drammen, Norway, intro to “Wreck on the Highway”
“Thanks…this is, uh, this is a song from “The River,” it’s called, called “Wreck on the Highway” (crowd cheers) I need, I need a little quiet for this one, thank you, little quiet…”
05.05.81 Drammen, Norway, intro to “Racing in the Street”
“Thanks…this is, this is a song from “Darkness on the Edge of Town,” it’s called “Racing in the Street” (crowd cheers) I need, I need a little, little quiet for this one, little quiet…”
05.05.81 Drammen, Norway, intro to “Point Blank”
“This is, this is from “The River,” this is called “Point Blank” (crowd cheers)…”
05.05.81 Drammen, Norway, middle of “Rosalita”
“On the piano…Professor Roy Bittan (crowd cheers) play it, Roy (Roy plays) on the guitar, Miami Steve Van Zandt (crowd cheers) on the bass, Garry W. Tallent (crowd cheers) on the drums, the Mighty Max Weinberg (crowd cheers) on the organ, Phantom Dan Federici (crowd cheers) and last but not least…how can I say it?… say it, say it, I should say it?…I should say it?…(?) king of the world… emperor of the universe…master of all things, big and little …he’s faster than a speeding bullet…more powerful than a roaring locomotive…able to leap tall women, I mean tall buildings in a single bound…it ain’t no bird…it ain’t no plane…it’s…it’s…it’s the Big Man, Clarence Clemons (crowd cheers)…and oh, I forgot…bigger than life and twice as natural: me! (crowd cheers)…”
05.05.81 Drammen, Norway, middle of “Detroit Medley”
“Wait a minute…I can’t…go on…I can’t…go on…I can’t…can’t do it… can’t do it…can’t do it (crowd cheers) can’t do it (crowd cheers) I can’t do it (crowd cheers) I can’t do it (crowd cheers) I can’t do it (crowd cheers) I can’t do it (crowd cheers) I can’t do it (crowd cheers) I see a train coming around…I see a train coming around… (…) Detroit, Michigan, all aboard…New York City (crowd: “Woo-woo”) all aboard (crowd: “Woo-woo”) Memphis, Tennessee (crowd: “Woo-woo”) all aboard (crowd: “Woo-woo”) Oslo, Norway (crowd: “Woo-woo”) all aboard (crowd: “Woo-woo”) everybody all aboard (crowd: “Woo-woo”) everybody all aboard (crowd: “Woo-woo”) everybody all aboard (crowd: “Woo-woo”) everybody all aboard (crowd: “Woo-woo”)…”
Compiled by Johanna Pirttijärvi
