Bruce Springsteen You Can Trust Your Car To The Man Who Wears The Star. Live...

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Bruce Springsteen You Can Trust Your Car To The Man Who Wears The Star. Live.... Condition is "Used". Shipped with USPS Media Mail.

SODD001: Bruce Springsteen You Can Trust Your Car To The Man Who Wears The Star  -  Reissued in 1978 with deluxeb/w cover as TAKRL 24903 and a changed cover design. Black vinyl and blanklabels, This pressing has the original SODD matrix scratched with 24903 A-D writingadded, so maybe it has been done from the same plates This edition is prettyrare, too.

Bruce Springsteen Live at theMain Point, Bryan Mawr, Pennsylvania, February 5th, 1975

FM Broadcast on WMMR – A Main Point benefit show. This was thepremiere of Thunder Road, actually called Wings For Wheels at this time and ofboth Back In The USA and Mountain Of Love.  Also with early live versions of Born To Run and Jungleland, and anamazing cover of Dylan’s I Want You. Intro, Incident on 57th Street, MountainOf Love, Born To Run, The E Street Shuffle,  Wings For Wheels (ThunderRoad), I Want You, Spirit In The Night, She’s The One, Growin’ Up, It’s Hard ToBe A Saint In The City, Jungleland, Kitty’s Back

Theconcert continued with: New York City Serenade, Rosalita (Come Out Tonight),4th Of July, Asbury Park (Sandy), A Love So Fine [incorporating Shout], ForYou, Back In The USA.

From collectorsmusic.com: “one of the most legendary shows of Bruce’s career.”  TheBrucebase website refers to it as “one of the most compelling performances ofSpringsteen’s entire career.”   Lynn Elder’s guide to earlySpringsteen bootleg CDs, You Better Not Touch, agrees, stating that “theshow easily ranks as one of Bruce’s best ever.”  Clinton Heylin, in TheGreat White Wonders,  refers to it as a “testament to Springsteenat-his-peak.”  The first twelve songs initially appeared on the LP You canTrust Your Car To The Man Who Wears The Star (SODD, later TAKRL). The showwas broadcast on WMMR-FM and the incomplete LP version obviously utilized anoff-air tape, extremely listenable but not quite top-notch in soundquality.  There were small cuts during the opening bars of Incident On57th Street caused by the excision of some talking by a DJ.

WMMR DJ Ed Sciaky, whointroduced the concert, explained how it was recorded and broadcast in issuenumber 82 of Backstreets magazine: “We didn’t have a phoneline from the Main Point, so they had to tape the show in hour-long segmentsand then drive them to the station and put them on air.”

 Itis–as it should be–on any sane fan’s list of Bruce’s greatest shows and rightlyso. The Main Point captures the best-recorded transition performance between twosplendid eras, previewing new material for what would become Born to Run whilestill delivering epic readings of early songs like “Kitty’s Back” and “New YorkCity Serenade” (the latter, arguably, in its definitive live performance).

Thenthere’s the addition of Suki Lahav. She–the short-tenured, one-woman stringsection of the E Street Band–makes jaw-droppingly sublime contributions to theshow-opening “Incident on 57th Street” and the striking cover of Bob Dylan’s “IWant You.” Throw in “Wings for Wheels” (the proto “Thunder Road”), “Mountain ofLove,” “A Love So Fine,” “Back in the USA” and the rest, and you have a showfor the ages.

TheMain Point’s place in the pantheon is greatly aided by the fact that arecording of the complete set has been available for the last four decadesthanks to its same-night (though not live-as-it-happened) broadcast on WMMRPhiladelphia. In fact, Bruce and the band’s appearance was a benefit for theMain Point itself and the station solicited for donations to be made by phoneduring the broadcast. The gig happened at the request of WMMR deejay and keyearly supporter, Ed Sciaky, who serves as the night’s master of ceremonies andis mentioned several times by Bruce in the show.

Asoutlined clearly in the entry for this show on the awesome Brucebase Wiki, thebroadcast that night was unusual. As noted above, the show was not aired live,but instead reel-to-reel tapes were rolling at the venue and when the firstreel was complete, someone ran it over to WMMR where it was played over the aircreating a one-to-two hour delay.

Thenext point is one of modest conjecture, but the basic notion is accurate: atsome point in the audio chain between the original recording at the venue andthe tape being played back on a reel to reel through the mixing board at thestation and over the air, a limiter or some type of auto-leveler wasintroduced. A limiter automatically adjusts recording levels when the volumegoes above a prescribed point. It can help smooth out dynamic material that hasunexpected peaks in sound levels and prevent over-recording. An auto-levelerdoes the same thing but adjusts for highs and lows.

Unfortunatelyfor us, the limiter/leveler employed on the Main Point broadcast was extremelyaggressive. When you listen to the FM recording, there are dozens if nothundreds of instances where the level change is audible. Worse still, not onlydo levels change jarringly at times, but the limiter/leveler itself seems toadd a slight clicking sound in spots.

-  Wayne “Boom” Darlington  https://theamazingkornyfonelabel.wordpress.com/2012/10/23/sodd-001-bruce-springsteen-you-can-trust-your-car-to-the-man-who-wears-the-star/