Nobody Roots for Amir Williams by James Baumann

 

 
“Nobody roots for Goliath.”
 
This sentiment was famously uttered by Wilt Chamberlain, the basketball playing behemoth famous for once scoring 100 points in an NBA game and, later, for boasting of scoring with many times that number of women. Still, for all his accomplishments, the public always seemed to add a figurative asterisk to everything Wilt did. “Of course he can score all those points and snare all those rebounds,” they implied. “he’s so much bigger than everyone else.”
 
Wilt was correct. Nobody roots for Goliath. And now, after collecting four years’ worth of evidence, let me posit that nobody roots for Amir Williams either.

Now, I am not saying that the Ohio State senior center is comparable to Chamberlain. Other than their heights, the item they probably most have in common is the amount of scorn fans heap upon them. The difference is that where Wilt was berated on the road, Amir has suffered at the hands and mouths of his hometown backers.
 
This is not to say that there haven’t been times that he deserved it. I am not an Amir-apologist. Teams like their big men to have hands like catchers’ mitts to gather entry passes and errant shots. Amir occasionally plays like he had ping-pong paddles surgically implanted at the end of his wrists. He has the incredibly frustrating habit of carrying the ball at waist height as he gathers himself to go up for a shot, or after coming down with a rebound. This is despite the fact that this is the number one thing that coaches have been telling him not to do since he first stepped onto a court as a child. On defense, his arms are often at his side rather than over his head. His knees are locked, rather than flexed. And he moves side-to-side about as easily as a grocery cart with a wonky wheel.
 
Still, despite everything I just said, I will not join in with the rest of the Buckeye fanbase that blames Amir for everything that goes wrong within a seven-foot radius of either hoop.
 
Let me digress for a moment. After a lifetime of watching Ohio State basketball, the first year I had season tickets for the 2006-07 campaign. This was the year of Greg Oden, Mike Conley, Jr., and the run to the championship game. For virtually all these games my oldest son, Evan, who turned 10 during that season, accompanied me. The seats next to ours were filled with a rotating cast of characters (who had obviously bought their seats on the secondary market) except for some of the marquee games when the true owner, a 50-something white-haired man, would show up with his squirming grandson to actually watch the best basketball team Ohio State had fielded in a generation.
 
He never cheered the entire season.
 
Not once.
 
As he sat in his seat with his arms clenched across his chest, the closest thing he would offer was a gravely “Come on Bucks,” through teeth gritted so tight you could strain coffee through them. Actually, it ended up sounding more like one word, “C’monbucks.” And this growl primarily occurred in those situations when the team had displeased him, or a lead looked like it was in danger of being fretted away.
 
There is a unique sound when a home crowd gets apprehensive about how the game is progressing; usually a murmur then an attempt at a reassuring cheer and clapping, and maybe a “Let’s go Bucks,” chant.
 
I think the semantics of the cheer are worth noting. “Let’s go Bucks” implies that we are all in this together and we are moving forward. “Let’s go!” It’s what you say when you are heading out the front door with your dog on a bright summer morning. “Let’s go, buddy!”
 
On the other hand, “C’monbucks” is the sound of someone who clearly feels that he has been wronged. He is where he wants to be and wants the rest of the world to quit lollygagging behind. It implies, “I have my ticket. I’ve done my part. Why aren’t you playing as perfectly as I desire?” It’s what you snarl when it’s six degrees outside and you just want that dog to finish taking a leak and get back inside the damn house. “C’monbucks!”
 
After a season of Evan and I rolling our eyes and shrugging our shoulders at the grumpiest man who ever lived, “C’monbucks” quickly became the Baumann family shorthand for the person -- Ohio State fan or otherwise – that is never happy. Any points given up or any shot missed or any game lost simply must be due to the fact that their team failed to do something. They can’t grasp the fact that sometimes the other team simply makes the better play or plays the better game. And, unfortunately, there are many that occupy the Schottenstein Center who have been afflicted by this plague.
 
Which brings us back to the last four years where “C’monbucks” has steadily been joined with “C’monAmir.” Arriving at Ohio State as a highly-touted high school basketball player, and possessing the tall and wide body that virtually every successful Big Ten team has had in the middle since about the dawn of man, there were a lot of high expectations for Amir. Since then it has been four years of glimpses of what everyone hoped would happen, but it’s never come completely around that curve.
 
Again, I would argue that while Amir may not have turned out to be what everyone hoped he would be (AKA Greg Oden 2.0 with an upgraded knee system), the problem might lie in the amount of expectation put on an 18-year-old kid. And, if I may play armchair psychologist for a moment, I will offer that it comes down to the Goliath complex. Every exasperated sigh or set of hands thrown up in disgust alongside the cry of “C’monAmir” is really just the fans’ collective subconscious screaming “If only the world had seen fit to make me 6-feet-11-inches tall, you can bet I would never squander that gift by missing a hook shot!”
 
When Goliath is successful, he’s just doing what he’s supposed to. When Goliath is felled, he’s let everyone down. Take, for example, the early part of the this season, when Ohio State was experimenting with playing a zone defense. During one game a lowly team successfully completed two back-door alley-oop dunks. “C’monAmir,” the crowd rumbled. In both of those cases, though, it was another Buckeye on the backside defense who got sealed off allowing the play to happen. Yet Amir gets the blame. Or consider the scene when a three-point-shot is taken and an Ohio State opponent gets a long offensive rebound near their foul line. “C’monAmir, get a rebound!” the crowd yells. Well, the fault there is the guard who failed to block out after the shot. Amir is positioned five feet from the rim, not 15.
 
As of this writing, Ohio State’s men’s basketball team has two regular seasons games left. They probably need to win both and get some help to earn the double-bye in the Big Ten tournament. Then they probably need to win two games there to rise anywhere above an eight-seed in the NCAAA tournament.
 
This is all after a March 1 home game against Purdue that, in many ways, displayed Amir at his Amir-iest.
 
Earlier this season Amir temporarily lost his starting job. Then, everyone took notice when Amir registered a DNP (coach’s decision) against Indiana and OSU won convincingly playing small ball. Obviously the switch from starting center to bench warmer was coach Thad Matta sending a message. But it also was a coincidence in the schedule, as Indiana didn’t have a starter taller than 6’ 7”. The height and bulk of Williams wasn’t needed against the Hoosiers.
 
In the following games, Amir got back into the rotation. When Anthony Lee was hurt, Amir’s minutes per game jumped again. Many had their eye on the upcoming Purdue game where the Boilermakers would be trotting out two players more than seven-feet-tall. Would Ohio State be able to survive inside?
 
But here’s the thing. Williams is better when matched up with a player of similar size and speed. This is most evident during games when he has to leave the key to guard the opponent’s pick-and-roll play. When he hedges away from his man, he often fails to cut off the smaller, quicker opposing guard and just ends up escorting him to the rim for a layup.
 
For Purdue, though, the plan is for the guards to feed the ball inside and let the trees go to work. And with Lee still hurting, that meant it was up to Amir and Trey McDonald and their 10 available fouls to hold down the fort. Purdue’s plan worked pretty well, with both centers combining for 20 points. For most of the first half, Purdue had a double-digit lead.
 
Meanwhile, the referees made pretty quick work of the foul situation (ugly calls going against both teams all night) and with about five minutes left in the game, McDonald had fouled out and Williams was playing with four fouls.
 
Still, Ohio State had battled back to even the score with Purdue and the teams were trading baskets. With just more than four minutes left in the game Purdue’s Rapheal Davis drove to the hoop. Williams shuffled his feet along side him, kept his arms straight up, but otherwise could do little to stop Davis from making a layup and tying the score at 54-54.
 
“C’monAmir” bellowed a voice from behind Evan and I. “Play some defense!”
 
I snapped and turned my head to see a man who looked not unlike a walrus in scarlet and gray. “He has four fouls. There’s nothing he could do there,” I said before turning back around.
 
“Well... Why would he start now?” mumbled the walrus under his breath.
 
Evan and I looked at each other and shrugged. We didn’t say it, but we were both thinking it.
 
“C’monbucks.”
 
A few more minutes pass, a few more points are scored until, at the one-minute mark (“… and Michigan still sucks!”) D’Angelo Russell makes a layup to give Ohio State a one-point lead. Now the Buckeyes need a defensive stop to cinch the game. Purdue set their offense and everyone in the building knows that they want to get it to the center. But while Williams is playing strong defense behind Purdue’s A. J. Hammons, OSU’s Shannon Scott is cheating back and sitting in Hammons’ lap. Unable to make the pass, Purdue’s designed play falls apart, the shot clock is running down, and a Purdue guard has to try to drive. However, this time he isn’t going straight at the rim; instead he is floating down the left side and this is where Williams is dangerously effective. At the last second, Williams steps away from his man, blocks the shot, and grabs the rebound.
 
The crowd is cheering. Players are bumping chests. A couple of free throws from OSU and it’s looking like the game is locked up. In 28 minutes, Williams has scored
six points and recorded two offensive rebounds, three blocks, and a steal.
 
Still, with less than three seconds left and down by four points, Purdue throws a desperation pass the length of the court. Williams and Hammons jump for the ball, it falls to the floor, and Williams picks it up. The Purdue players start to walk off the court. Everyone assumes the game is over. Then everyone notices the referee’s whistle.
 
Amir has shuffled his feet. The ref has called travelling with one second left. It doesn’t make any difference in the final score. Still, I know, somewhere in the seats somebody was yelling one last “C’monAmir.”
 
Nobody roots for Goliath. But given the option between rooting for the player or joining the chorus of “C’monbucks,” I think I’ll take the player every time.

James Baumann roots for the Buckeyes, the Reds and The Kinks among other things. He writes stuff too.

Music in the Round Almost Sold Out! Saturday March 7th @ Via Vecchia Winery

One of the fringe benefits of owning a small coffee shop is being kept up to date on many of the cool events happening around town by our knowledgeable customers. As luck would have it, this morning while it was still dark, underground music mover Erin Corrigan informed me that this year's Music in the Round event was a mere 18 tickets away from being a sellout. Again. Wow! Who says people don't support local music? With a doozy of a line-up featuring Happy Chichester, Josh Krajcik, Jared Mahone and Counterfeit Madison, it's no wonder seats are scarce.

I was fortunate to play a Music in the Round event a couple of years ago, and let me tell you, the vibe at the Via Vecchia Winery was one of the coolest I had ever been a part of. But don't take my word for it, move your ass going and get those tickets pronto at Musicintheround.com

Proceeds to benefit Rafiki AIDS Orphanage, Troubadour Performing Art Center, and the Cap Square Rotary Foundation.  - Colin G.

Dodge Ball for the Homeless by Wal Ozello

Dodge Ball for the Homeless:

Yeah.  You read that correctly.

I’m writing about Dodge Ball for the Homeless.

It’s the brain child of, well… a child. His name is Max and he’s a Fifth Grader at Windermere Elementary in Upper Arlington, Ohio.

For those of you who’ve never been to Upper Arlington, it’s one of the richest cities in Central Ohio and in the Top Twenty-Five in Ohio. Think Steven Spielberg-like Suburb.  Everything’s perfect here and easy for us to live a sheltered life, worrying about things like who’s going to take over the local strip mall space that Macy’s is going to be vacating. 

But Max was worried about things beyond the real estate at the local strip mall.  He knew there were bigger problems in this world and after talking to many people from Urban, Suburban, and Rural communities he discovered one common issue. Homelessness. It surprised him that one common issue that these different communities faced was homelessness.

So how could Max change this? How could he make a difference?  He’s just one kid, right?  The answer hit him like a flying wrench.

Dodge Ball Tournament. It's been rescheduled for today, March 1, and there's still time to help out!

Max mobilized the kids around him and reached out to the other elementary kids in his neighborhood. As of this posting, there are almost 200 kids signed up.

It’s a simple idea.  Raise money for the homeless by playing Dodge Ball. He’s hoping to get kids to play Dodge Ball and then get people to donate money and sponsor the teams. All proceeds benefit The Faith Mission in Downtown Columbus Ohio.

His goal: $5000.

You can donate to his campaign by clicking here.

I’m pretty sure he can reach his goal. I’m kicking in $100 myself. I’m challenging everyone who reads this blog to donate as well. Give whatever you can at this website.

You know, I often wonder what type of world we’re going to have once the internet, smartphone, wifi consuming “me generation” kids of today become adults.  With kids like Max and his friends, I think we’ll be in good hands.

Wal Ozello is  a science fiction techno-thriller novelist and the author of Assignment 1989  and Revolution 1990. He's a resident of Upper Arlington, Ohio and a frequent customer at Colin's Coffee.

Learn more about Wal Ozello and other Pencilstorm contributors by clicking here

 

THIS MONTH IN ROCK 'N ROLL HISTORY - CHEAP TRICK RELEASE THEIR FIRST ALBUM - BY SCOTT CARR

February, 1977 - Cheap Trick Release Their First Album

 

Nothing I write will justify how great Cheap Trick's 1977 debut album is and will fall short on relating my love for it. It is a perfect blend of catchy power-pop hooks and raw punk rock attitude. The combination of Rick Nielsen's frantic Pete Townshend-esque guitar riffs, the golden voice of singer Robin Zander and the booming backbeat of drummer Bun E Carlos and bassist Tom Petersson creates a sound that hints at their influences but manages to carve out an identity that is all Cheap Trick. Ten perfectly crafted songs with a bare bones production provided by Jack Douglas. No other studio record in the Cheap Trick discography captures the way this band should sound like their debut.

 

        Concert ad for my first Cheap Trick show

        Concert ad for my first Cheap Trick show

My first brush with Cheap Trick was September 20, 1978 when I saw them in concert opening for AC/DC at the Huntington Civic Center in Huntington, WV. At that point, I had no idea who Cheap Trick were but had recently became a fan of AC/DC. Prior to that, KISS was all I cared about. I was barely ten years old at the time and always tagged along with my older brother to rock shows. I felt like a concert veteran as I had already seen Kiss twice as well as Heart, Rush, Blue Oyster Cult and a few others but the AC/DC - Cheap Trick show was a game- changer for me. I remember the lights going down and seeing Bun E Carlos enter the stage looking like an out-of-shape bank teller with a cigarette hanging out of his mouth sitting down behind the drum kit and begin bashing away in a Keith Moon fury.... the band kicked in and I was instantly hooked. I didn't know any of their songs at the time but it didn't matter, they rocked and I loved every minute of it. Even though I was a huge AC/DC fan and they were the reason I attended the show, I left the concert with a Cheap Trick poster, bow-tie and a huge Cheap Trick logo button. The next day I promptly headed to Davidson's  record store in downtown Huntington and spent my allowance on two Cheap Trick albums, “In Color” and “Heaven Tonight.” Having no knowledge of the band's history I assumed they had only released two records. Cheap Trick broke big in the USA a few months later in February 1979 with the release of their live album “At Budokan.” The live record featured songs from “In Color” and “Heaven Tonight,” plus a couple new songs. The debut album was not represented at all on Cheap Trick “At Budokan,” so I was still in the dark about its existence.

                                                   "Elo Kiddies" Netherlands 7" single

                                                   "Elo Kiddies" Netherlands 7" single

                                                                                                                                                                                                  This would all change in May of 1979 when I saw the movie “Over The Edge.” "Over The Edge” is a coming-of-age film about delinquent teenagers living in a small town with nothing to do, which leads them to teenage rebellion in the form of drug & alcohol use and healthy doses of rock n roll. The soundtrack features songs by The Cars, Van Halen, Ramones and Cheap Trick. After seeing the movie I went out and picked up the soundtrack and it featured a Cheap Trick song I had not heard called "Speak Now or Forever Hold Your Peace." I thought it was a new song but with further investigation I learned it was on Cheap Trick's debut album that came out in 1977. I was ecstatic and needed to get this record immediately. After a bit of searching I eventually tracked down a copy of the elusive album and in my ten year old mind I thought I had found the Holy Grail. I rushed home to give it a listen, quickly opened the album and put on side one. The drumbeat to "Elo Kiddies" came blasting through my stereo speakers and it sounded so good. The album managed to capture Cheap Trick the way I remembered them sounding in concert, loud and melodic, every song a winner. After side one finished I turned the record over and realized that the flip side was labeled "Side A." Initially I thought there had been a printing mistake, but in reality the band was so confident in the material that they put down on their first slab of wax that they felt there was no "B" material, so this record has no B side. Some may say that's a bit arrogant, but after one spin of the record I could hardly argue with their reasoning. After all these years I still listen to side one first, although I think it was meant to go the other way around.

                                             Japanese "Over the Edge" EP

                                             Japanese "Over the Edge" EP

 

Recently someone asked me to list my Top 10 Cheap Trick songs and I replied by saying all the songs from their debut record. Of course there are plenty of songs I could have picked from the bands' great catalog of music, but the '77 debut album is pure magic from start to finish and sounds as important and relevant today as it did when it first came out.  

 "Elo kiddies, elo kiddies, What ya gonna do when the lights start shining?

 Elo kiddies, elo kiddies, What ya gonna do when your head's exploding?

 So you missed some school? / You know school's for fools

 Today money rules and everybody steals it"

 

Check out Colin Gawel's ranking of EVERY Cheap Trick song here

 

Scott Carr is a guitarist who plays in the Columbus, OH  bands Radio Tramps and Returning April. Scott is also an avid collector of vinyl records and works at Lost Weekend Records. So...if you are looking for Scott....you'll either find him in a dimly lit bar playing his guitar or in a record store digging for the holy grail.

                                                   Ad for Cheap Trick debut album

                                                   Ad for Cheap Trick debut album

                             Bio included with promo copies of the first album

                             Bio included with promo copies of the first album

                                           My original 1978 Cheap Trick badge

                                           My original 1978 Cheap Trick badge

Willie Phoenix Tribute Machine Listening Party and More!

Hey everybody, the Willie Phoenix Tribute Machine is off and rolling. Just a quick update and a reminder that YOU can help us by spreading this music around and telling people about the great Willie Phoenix.

Click here to get the FREE music      or        here to read the original article  

We will be having a Willie Phoenix Tribute Machine listening party at Little Rock Bar (corner of 4th Ave and 2nd St) Thursday March 5th. The event will be 6-8pm and admission is FREE. There will be no live music but a mix of Willie Phoenix tunes will be spinning. All the guys from the Tribute Machine will be hoisting beers and prepared to talk all things Willie.

WE NEED YOUR HELP! In addition to this being a party, we need Willie superfans to bring out your old Willie records, tapes, CDs, articles, pictures and the like. We will be taking pictures of all this stuff so we can begin working on a proper Willie Phoenix Wiki page listing his full discography. This is a huge task and we cannot do this without your help. If you cannot make it, please email your Willie P. info williepproject@gmail.com 

Radio Update:  Jon Peterson is planning on spinning a cut this week on his fabulous Shakin' It Radio program which airs in Columbus on WCBE 90.5 Saturday night so tune in and check it out. Maggie B has a copy as well so call in and request.  Studio Line - 614 821 9223 

CD102.5  has been given a copy to spin and is waiting to hear from you. Text: Request Willie P  to the # 68683  and let them know you want to hear it on the radio. 0r call 614 221 1025

Last but not least, the actual Willie Phoenix will be playing Eldorado's Bar (Morse and High) Saturday February 28th. Go check it out or click here to visit Williephoenix.com for all things Willie and more dates.   This site also has all the latest Willie music. It never stops.

Thanking you in advance for helping us spread the word about Columbus' own Willie Phoenix - Colin G. 

 

 

 

They're Tearing Down Vet's Memorial, part two - by Ricki C.

They’re Tearing Down Vet’s Memorial is a continuing series in Pencilstorm.  It will run once a month throughout 2015.  For an intro and explanation, please see They’re Tearing Down Vet’s Memorial, part one, January 2015.

Triumph and Brownsville Station / February 24th, 1979

In February of 1979 I was working 40 hours a week in the warehouse of the K-Mart store on West Broad Street in Columbus, Ohio; serving as a roadie for Willie Phoenix’s then-current band, The Buttons; and writing for Focus magazine, Columbus’ bi-weekly music publication.  (Ahhh, the 1970’s: when every decent-sized city in America could support its own music magazine.) 

The Focus job was a pretty easy gig.  It didn’t pay that great, but there were perks: you got a lot of free records and occasionally got paid to go to rock concerts.  This Triumph and Brownsville Station show was one of the latter.  In February of ’79 I was already well-aware that Triumph was beneath contempt, but the Focus editor pitched the show by dangling a chance for me to interview Cub Koda of Brownsville Station after their opening set.  And here’s the deal: I had WORSHIPPED Cub Koda and Brownsville Station since the first time my best friend Dave Blackburn and I laid eyes on them back in high school in 1969 or ’70, when Brownsville played the old Agora Club on High Street.

Brownsville Station was Dave’s and my own little local version of The Who: Brownsville hailed from Ann Arbor, Michigan, and played Columbus like a local band.  Dave & I must have seen them six or seven times in 1970 alone – at the Agora, at the Valley Dale ballroom, opening for the likes of Ted Nugent and Alice Cooper at Vet’s or other venues – and without fail Brownsville Station were a spark-spitting, incendiary rock & roll organism of the highest order.  They had a sense of humor, they put on a rock & roll SHOW, they dressed great, and they rocked like fever.  They were kinda like The MC5 if you substituted rock & roll FUN for radical hippie politics & heroin.   

So, to make a long story short (editor’s note: as if that’s possible in a Ricki C. piece), by three minutes into the between-sets interview Cub Koda and I were laughing along like old friends: reminiscing about past Columbus shows, reiterating that “The West Side Is the Best Side,” commiserating over the then-current dismal, post-punk state of rock & roll, etc.  At some point I was vaguely aware that Triumph had started their set, but Cub and I were at that point deep in discussion about the finer points of Bo Diddley vs. The Sex Pistols and couldn’t just stop right then, ya know?

Anyway, about a half-hour after we had started hearing the leaden thump of Triumph’s set thudding through the concrete Vet’s Memorial dressing room walls, Cub said to me, “Aren’t you supposed to be reviewing this show?”  “Yeah, yeah, I’ll get out there pretty soon,” I replied, “those Canuck lunkheads aren’t going anywhere, literally or figuratively”  Koda and I laughed, toasted whatever we were drinking at that moment and kept talking.  (By the way, you know you have seriously punted your professional journalistic standards when the opening act starts calling you out on missing the headliner’s set.)

I caught the last twenty minutes of Triumph’s set, tolerated the encore, confirmed with some of my West Side reprobate rocker buddies that I hadn’t missed anything in the previous hour, and went home happy with the memory of hanging out with Cub Koda, one of my genuine rock & roll heroes.  I slept late, then kicked back  Sunday afternoon and knocked out however many words on the Brownsville Station and Triumph show on my trusty Smith-Corona manual typewriter.  My best line of the review was “These guys wouldn’t know rock & roll if it fucked ‘em in a closet.”  (In time, it came to be the only line the Focus copy editor took out of the piece.) 

Never in a million years did I think Focus would actually run the review.  By then the paper had gone bi-weekly on its way to going out of business, depended mightily on record company advertising to pay the bills and was largely pretty booster-istic in its coverage of local & national acts.  (NOBODY got a bad rap in Focus.)  I turned the review in basically because you were expected to pay for your ticket to the show if you didn’t do the absolute minimum and at least COVER the event. 

Tuesday March 6th I was at work at K-Mart and one of the kids from my warehouse crew came in from lunch with the new issue of Focus.  He was laughing and said, “This review you wrote is great.”  I thought for a second and said, “I don’t have anything in this issue.”  “This review of Triumph and Brownsville Station isn’t yours?  They put your name on it.”  My stomach dropped, “THEY RAN THAT REVIEW?” I said, grabbing the paper away from him.  “Oh my God, I was just kidding, I never for one minute thought they would actually run this.”  

A couple of nights later the Focus advertising manager called me at home and said that RCA Records – Triumph’s label at the time – had called and threatened to pull all of their ads from Focus permanently if the paper didn’t apologize for the review and run a retraction.  “Well run a retraction,” I said, “I have no ego invested in this.  I can’t believe you ran the review in the first place.  I only turned it in so you wouldn’t charge me for my ticket.  I’m not gonna write an apology, but you can disclaim all knowledge of the review.  Put it all on me.  I have no problem with that.”

Rather spunkily – given his usual junior-league Rupert Murdoch Mr. Businessman leanings – the Focus editor wrote back to RCA, saying “We stand by our story.”  RCA pulled their advertising from the next three issues and then it was back to business as usual.  So, to summarize: I missed 80% of the show, still reviewed & badmouthed it, got our advertising pulled, and I still got paid.  I miss the 1970’s.  I miss Vet’s Memorial. – Ricki C. / February 22nd, 2015.

Triumph.jpg

Honorable mentions, February Vet's Memorial shows attended by Ricki C.

Blood, Sweat & Tears and Canned Heat / February 19th, 1969 (Ricki's first date, ever)

Alice Cooper, Ted Nugent and Brownsville Station / February 7th, 1976

Bruce Springsteen & the E Street Band / February 16th, 1977