Clips & Pix: Bruce Springsteen & The E Street Band/Backstreets

Here’s a classic by Bruce Springsteen & The E Street Band: Backstreets from Hammersmith Odeon, London ’75, a live album and video capturing a full-length performance by The Boss and his band at the British live entertainment venue in November 1975 during the Born to Run tour. This package was released in November 2005 as part of the 30th anniversary edition of Born to Run, my favorite Springsteen album.

While I feel there’s no need to justify this post, the reason I’m publishing this now is very simple. I was listening to a used vinyl copy of Born to Run I recently had picked up at a great local vintage record store. Backstreets, which like all other tracks on the record was written by Springsteen, is the final tune on Side one.

According to Songfacts, Backstreets is an intense story about a broken relationship; a tale of losing a lover where the narrator seems more concerned about losing her as a friend. The girl in the song, Terry, is a character Springsteen created based on girls he knew...Asked where this song came from in a 2016 interview with Rolling Stone, Springsteen replied: “Just youth, the beach, the night, friendships, the feeling of being an outcast and kind of living far away from things in this little outpost in New Jersey. It’s also about a place of personal refuge. It wasn’t a specific relationship or anything that brought the song into being.”

Songfacts also notes Backstreets is one of E Street Band drummer Max Weinberg’s favorite Springsteen tunes. They include the following quote from an ABC Radio interview: “I guess what hit me most about it was the emotionalism of the lyrics. I felt particularly proud to play on that record [Born to Run – CMM], because it was a kind of an involved drum part, it involved not playing a lot, just getting into that tom-tom figure ‚Äď ba-ba-ba-ba-boom bom-boom, ba-ba-ba-ba-boom bom-boom. And if anyone’s every heard ‘Running Sacred’ by Roy Orbison, that was the kind of tension we were trying to create. And I like to think we did.”

In addition to Springsteen (electric guitar, vocals) and Weinberg, the tune’s original studio recording also featured Garry Tallent (bass) and Roy Bittan (piano, Hammond organ). Last but not least, there’s a magazine for Springsteen fans titled after the song. It’s been published quarterly since 1980.

Sources: Wikipedia; Songfacts; Backstreets website; YouTube

The Sunday Six

Celebrating music with six random songs at a time

Welcome to another installment of The Sunday Six. To those who follow my blog I no longer need to explain the idea behind the weekly recurring feature. For first time visitors, basically, these posts celebrate music in many different flavors from different periods of time, spanning the past 60 to 70 years or so. Ready?

Fleetwood Mac/Albatross

Let’s start off our little musical excursion with one of the most beautiful guitar-driven instrumentals I know: Albatross by Fleetwood Mac. This track goes all the way back to the Mac’s beginning when they were a blues rock band led by amazing British guitarist, vocalist and co-founder Peter Green who also wrote Albatross. At the time this dreamy track was released as a non-album single in November 1968, Fleetwood Mac also featured co-founders Jeremy Spencer (guitar, backing vocals), Mick Fleetwood (drums) and John McVie (bass), as well as Danny Kirwan (guitar, vocals) who had just joined two months earlier. In fact, it was Kirwan who helped Green complete Albatross, which was recorded without Spencer. The tune was subsequently included on the U.S. and British compilation albums English Rose (January 1969) and The Pious Bird of Good Omen (August 1969), respectively. Green’s guitar tone is just unbelievable.

Supertramp/Take the Long Way Home

The other day, I found myself listening to Breakfast in America, the sixth studio album by English prog-rock-turned-pop band Supertramp. I got it on vinyl shortly after its release in March 1979 and own that copy to this day. While I played the record over and over again at the time, it’s still in fairly good shape. It also turns out I continue to enjoy the songs – something I certainly cannot say for a good deal of other music I listened to back then as a 13-year-old in Germany. Breakfast in America, which spawned various hit singles, was hugely popular in Germany where it topped the charts, just like in many other countries in Europe and beyond. Take the Long Way Home remains one of my favorite tracks from the album. Written by the band’s co-frontman and principal songwriter Roger Hodgson, the tune also became the record’s fourth single in October 1979. BTW, you also gotta love the cover art, which won the 1980 Grammy Award for Best Recording Package.

John Prine/Angel From Montgomery

I still know very little about John Prine, who is widely viewed as one of the most influential singer-songwriters of his generation. But I’ve finally started listening to his music. According to Wikipedia, Prine has been called the “Mark Twain of songwriting.” The likes of Bob Dylan, Johnny Cash and Roger Waters have called out Prine. He mentored younger artists, such as Jason Isbell, Amanda Shires, Brandi Carlile and Margo Price. In fact, I first listened to at least one John Prine song a long time before I even knew his name: Bonnie Raitt’s great cover of Angel From Montgomery, which she recorded for her fourth studio album Streetlights that appeared in September 1974. Here’s the original from John Prine’s eponymous debut album released in 1971. I’m starting to like it as much as Raitt’s rendition.

Peter Frampton/Avalon

If you read my Best of What’s New installment from a week ago, you probably recall it featured a great instrumental cover of George Harrison’s Isn’t It a Pity from Peter Frampton’s new album Peter Frampton Forgets the Words. Since my recent “discovery” of the all-instrumental record, I’ve enjoyed listening to it. Here’s another beautiful track that’s perfect for a Sunday morning: Avalon, the title song of the eighth and final studio album by English outfit Roxy Music, released in May 1982. Written by frontman Bryan Ferry, the tune also became the album’s second single in June 1982. I was a bit surprised to see it “only” reached no. 13 in England, while it didn’t chart at all in the U.S. – unlike the record that topped the charts in the UK and climbed to no. 53 in the U.S. and became Roxy Music’s best-selling album. In 1983, Ferry dissolved the band to focus on his solo career. In 2001, Roxy Music reformed for a 30th anniversary tour and was active on and off until they disbanded for good in 2011. Check out this great clip of Frampton and his band. Not only does he sound great, but you can clearly see how he and his fellow musicians enjoyed recording the tune. I don’t think you can fake this!

Traffic/Dear Mr. Fantasy

Time for some more ’60s music, don’t you agree? While I hate traffic when I’m in my car, I love it when it refers to the British rock band. Undoubtedly, much of my affection has to do with Steve Winwood, one of my long-time favorite artists. I get excited to this day when I hear the man sing and play his growling Hammond B-3. But amid all my love for Winwood, let’s not ignore excellent fellow musicians Jim Capaldi (drums, vocals), Dave Mason (guitar, bass, multiple other instruments, vocals) and Chris Wood (flute, saxophone, Hammond, percussion, vocals), who founded Traffic with Winwood in April 1967. It’s quite amazing that at that time, 18-year-old Winwood already had had a successful four-year career under his belly with The Spencer Davis Group. Dear Mr. Fantasy, co-written by Capaldi, Winwood and Wood, is from Traffic’s debut album Mr. Fantasy released in December 1967. When I saw Winwood live in March 2018, he played guitar on that tune, demonstrating his impressive fretboard chops.

Bruce Springsteen & the E Street Band/Tenth Avenue Freeze-Out

For the last tune in this Sunday Six installment, let’s have a true rock and soul party. In this context, I can’t think of anything better than this live clip of Bruce Springsteen & the E Street Band, captured in June 2000 at New York City’s Madison Square Garden at the end of the band’s triumphant 1999-2000 reunion tour. In this 19-minute-plus version of Tenth Avenue Freeze-Out, the Boss is literally taking his audience to rock & soul church. Yes, it’s long and perhaps somewhat over the top, but I believe Springsteen was authentic when at some point he noted, “I’m not bull-shittin’ back here.” Tenth Avenue Freeze-Out, written by Springsteen and first appearing on his legendary breakthrough album Born to Run from August 1975, tells the story about the band’s formation. Watching this amazing footage, I get a bit emotional when seeing the big man Clarence Clemons and Danny Federici, who sadly passed away in 2011 and 2008, respectively. Though at the end of the day, it’s a beautiful celebration of their lives. If you haven’t seen this, I encourage you to watch it. And even if it’s not your first time, it’s worthwhile watching again. Live music doesn’t get much better!

Sources: Wikipedia; YouTube

Bruce Springsteen Releases Latest Installment from Bootleg Live Series

The Live Series: Stripped Down features acoustic versions of songs captured between 1986 and 2005

Without much fanfare, Bruce Springsteen released another collection from his officially sanctioned bootleg live series on July 17. The Live Series: Stripped Down features 15 acoustic renditions of Springsteen tunes captured at seven shows in the U.S. and Europe between 1986 and 2005.

Other than short posts on Springsteen’s Facebook page and Twitter handle, there was no big announcement, and there does not appear to be a significant marketing push behind the album. That’s no longer necessary in the age of social media, especially when your target audience is your longtime fans, which I suspect is the case here. This is not about making a big buck. It’s also save to assume Springsteen is not a poor man.

Examples of previous releases of The Live Series (from left): Songs of Summer, Songs Under Cover, Songs of the Road and Songs of Friendship

In fact, had it not been for my music streaming service, I wouldn’t have known about this album! After searching the Internet, I found some additional background information on Alice Cooper radio show/station Nights with Alice Cooper and ABC News Radio, which are my main sources for this post.

The album combines Springsteen classics, such as Dancing in the Dark, Born to Run and The River, with deeper cuts/rarities like When You’re Alone, Cynthia and Seeds. Previous installments in the Live Series include Songs Of Summer,¬†Songs Under Cover,¬†Songs Of The Road,¬†Songs Of Friendship,¬†Songs Of Hope,¬†Songs Of Love, and¬†Songs From Around The World.¬†Let’s get to some music.

Here’s the opener Dancing in the Dark, recorded at a gig in Mountain View, Calif. in October 1986. Originally, the song appeared on the Born in the U.S.A. album from June 1984. I think I prefer this stripped down rendition over the studio version, particular the accordion work by Danny Federici and the female backing vocalist – not sure it’s Patti Scialfa.

Here’s Soul Driver, captured at a show in Los Angeles in November 1990. At the time of the performance, the tune was still unreleased and Springsteen announces it as a new song. It would appear on the Human Touch album from March 1992. Frankly, while I own that record, I haven’t listened to it in a long time, so didn’t recall that particular track. Spontaneously, again I would say I like this acoustic version better than the studio recording.

Bobby Jean is one of my favorite tunes from Born in the U.S.A., so I simply couldn’t skip it – another great acoustic rendition that sounds very Dylanesque to me. It was captured at a show in Belfast, Northern Ireland in March 1996. I feel Springsteen’s emotions come out better in this rendition than the original.

Adam Raised a Cain is the second tune on Darkness on the Edge of Town, the fourth studio album The Boss released in June 1978. This stripped back version was recorded during a gig at Springsteen’s elementary school in his home town of Freehold, N.J. in November 1996 – how cool is that! It’s an interesting contrast to the much more rock-oriented original.

Let’s do one more: This Hard Land, a Springsteen tune that first appeared on his first compilation Greatest Hits from February 1995 as one of four then-previously unreleased tracks. The version on this album is from a show that took place in Stockholm, Sweden in June 2005. The Boss is a great storyteller, and I feel this stripped down acoustic setting really serves him well.

Nights with Alice Cooper included the following quote from Springsteen: “It’s like you come out and you fall in love every night in some way. When you’re doing it right, it’s like a rebirth, y’know? It’s not a repetition — it’s a¬†renewal¬†— so that involves something happening every night for the first time. And, amazingly enough, it’s like your first kiss in that there’s something in playing. There were¬†thousands¬†of other times, but still when you come out there’s some element of the first time that’s very, very present. And it keeps you very open and present and it’s what people feel.”

Here’s the setlist:

Dancing in the Dark (Mountain View, CA, Shoreline Amphitheatre, 10/13/1986)
Seeds (Mountain View, CA, Shoreline Amphitheatre, 10/13/1986)
Born to Run (New York City, NY, Madison Square Garden, 5/23/1988)
Soul Driver (Los Angeles, CA, The Shrine, 11/16/1990)
Bobby Jean (Belfast, UK, King’s Hall, 3/19/1996)
Adam Raised a Cain (Freehold, NJ, St. Rose of Lima School, 11/8/1996)
Youngstown (Belfast, UK, King’s Hall, 3/19/1996)
Independence Day (Asbury Park, NJ, Paramount Theatre, 11/24/1996)
Two Hearts (Freehold, NJ, St. Rose of Lima School, 11/8/1996)
When You’re Alone (Asbury Park, NJ, Paramount Theatre, 11/24/1996)
The River (Grand Rapids, MI, Van Andel Arena, 8/3/2005)
Cynthia (Columbus, OH, Schottenstein Center, 7/31/2005)
This Hard Land (Stockholm, Sweden, Hovet, 6/25/2005)
All That Heaven Will Allow (Trenton, NJ, Sovereign Bank Arena, 11/22/2005)
Empty Sky (Trenton, NJ, Sovereign Bank Arena, 11/22/2005)

Sources: Wikipedia; Bruce Springsteen Facebook page; Bruce Springsteen Twitter handle; Nights with Alice Cooper; ABC News Radio; YouTube

Bruce Springsteen Releases “Songs of Summer”

Compilation is part of The Live Series and spans recordings from 1975-2016

Not that I would ever need an excuse to write about one of my all-time favorite artists like Bruce Springsteen, but typically, I do so around an occasion like a new album or a concert I visited. In this case, it’s a new compilation of live material released from Springsteen’s archives that’s available on various music platforms for streaming or downloading, such as Spotify, YouTube and Apple Music. The Live Series: Songs of Summer turned out to be the perfect background music while carrying out a house chore earlier today.

Organized chronologically, the collection spans from Born to Run recorded at The Roxy in West Hollywood, Calif. in October 1975 to Jungleland captured at MetLife Stadium in East Rutherford, N.J. on August 30, 2016. The last gig has a special meaning. It was the third of a three-show run at that venue during Springsteen’s River Tour. I was there and remember it pretty well. Let’s get to some of that sweet music.

An extended eleven-and-a-half-minute version of Rosalita (Come Out Tonight), during which Springsteen introduces the E Street Band Band, is a nice way to kick things off. These guys are killing it, especially Clarence Clemons who launches into some great saxophone work at around 6:30 minutes into the tune. It all was captured at Capitol Theatre¬†in Passaic, N.J. in August 1978. Originally, the tune appeared on Springsteen’s sophomore album The Wild, the Innocent & the E Street Shuffle from November 1973.

Here’s Out In The Street from The River, Springsteen’s fifth studio album released in October 1980. This live version is from September 1985 at Los Angeles Memorial Coliseum.

Next up: A beautiful version of Waitin’ On A Sunny Day, which features a bit of Steven Van Zandt on vocals. This is from a gig in Helsinki, Finland from June 2003. Springsteen first recorded the tune for The Rising, his post 9/11 album released in July 2002.

Girls In Their Summer Clothes is a track from The Boss’s 15th studio album Magic, which came out in September 2007. This version was captured at TD Banknorth Garden in Boston in November of the same year.

Let’s do one more. I just couldn’t help it to end with the aforementioned performance of Jungleland at MetLife Stadium. It’s just a beautiful version and frankly a great memory. Jake Clemons, the nephew of¬†Clarence Clemons, does an amazing job playing the part of The Big Man. Check out his extended solo starting at 4:30 minutes, making his uncle proud. Jungleland is the closer of my favorite Springsteen album Born to Run, which came out in August 1975.

Here’s the complete tracklist of the collection:

    • Born To Run [Live at The Roxy, West Hollywood, CA – 10/18/75]
    • Rosalita (Come Out Tonight) [Live at Capitol Theatre, Passaic, NJ – 08/19/78]
    • The Fever [Live at Winterland Arena, San Francisco, CA – 12/15/78]
    • 4th of July, Asbury Park (Sandy) [Live at Nassau Coliseum, Uniondale, NY – 12/31/80]
    • Thunder Road [Live at Wembley Arena, London, UK – 06/05/81]
    • Spirit Of The Night [Live at Brendan Byrne Arena, East Rutherford, NJ – 08/20/84]
    • Out In The Street [Live at Los Angeles Memorial Coliseum, Los Angeles, CA – 09/27/85]
    • Blinded By The Light [Live at Paramount Theatre, Asbury Park, NJ – 11/24/96]
    • Waitin’ On A Sunny Day [Live at Olympiastadion, Helsinki, Finland – 06/16/03]
    • Racing In The Street [Live at Van Andel Arena, Grand Rapids, MI – 08/03/05]
    • Girls In Their Summer Clothes [Live at TD Banknorth Garden, Boston, MA – 11/19/07]
    • Seaside Bar Song [Live at Farm Bureau Live, Virginia Beach, VA – 04/12/14]
    • It’s Hard To Be A Saint In The City [Live at Croke Park Stadium, Dublin, IE – 05/29/16]
    • Frankie [Live at CASA Arena Horsens, Horsens, Denmark – 07/20/16]
    • Jungleland [Live at MetLife Stadium, East Rutherford, NJ – 08/30/16]

Sources: Wikipedia; YouTube

My Playlist: The Boss

Before getting to The Boss, I’d like to acknowledge the untimely death of Eddie Money who passed away yesterday (Sep. 13) at the age of 70 from complications from heart valve surgery in a Los Angeles hospital, only three weeks after he had revealed his diagnosis of stage 4 esophageal cancer. The first thing that came to my mind when I saw the news was his 1986 studio album Can’t Hold Back. I got it on CD at the time, primarily because of Take Me Home Tonight, a nice pop rock tune I dig to this day. I always liked his vocals. In my view, Money deserves more than a paragraph, so I’m planning to do a post on him in the near future.

Turning to Bruce Springsteen, I feel I never really need a particular reason to write about The Boss. As frequent visitors know, I’ve done so numerous times on these pages since I’ve started the blog in June 2016. It ain’t rocket science and all comes down to this: I just love Springsteen – his music, his lyrics, his down-to-earth personality, his amazing live shows. He’s the total package! I’ve been fortunate to see him twice over the past 30 years or so – undoubtedly, these concerts will stay with me forever. I think at least when it comes to live music, Springsteen truly is in a league of his own. Name another notch present day artist who plays 3 to 4-hour shows with seemingly endless energy – pretty remarkable at any age, but even more so for a guy who is about to turn 70!

Bruce Springsteen

To be clear, while music is both my passion and my therapy that more than once has helped me keep my shit together, I’m a fan, not a fanatic – not even when it comes to my all-time favorite band The Beatles. A phenomenon like Beatlemania¬†actually scares me more than anything else. Had John Lennon or Paul McCartney asked their audience to go out and kill somebody, sadly, I have no doubt some lunatic would have acted on that. Obviously, this didn’t happen. My point here is that out of control fandom isn’t healthy, neither for fans nor music artists. With that being said, I still like to celebrate music artists I dig. But similar to drinking alcohol or driving, let’s do so in a responsible way!

The reason why Springsteen has been on my mind for the past few days is his upcoming 70th birthday on September 23rd. Obviously, countless pieces have been written about The Boss. In fact, Springsteen himself released his acclaimed autobiography Born To Run in September 2016. As such, there is really is no need for yet another write-up about his life! Instead, I’d like to focus on Springsteen’s music with a playlist of songs, which I haven’t featured in the blog before. This means leaving out gems like Born To Run, Tenth Avenue Freeze-Out and Bobby Jean, to name a few of my all-time favorite Springsteen tunes. Of course, the good news is The Boss has a mighty catalog to choose from, so let’s get to it in chronological order.

I’d like to kick things off with a track that according to Songfacts was one of the tunes that convinced Columbia Records to sign Springsteen in 1972: Growin’ Up. The lyrics about adolescence were inspired by his own troubles in school and frequent quarrels with his old man during his teenage ages. The track was included on Springsteen’s debut album Greetings From Asbury Park, N.J., which appeared in January 1973. One of the things I learned when researching this post was that David Bowie recorded a version of the song in 1974 during the sessions for his Diamond Dogs studio album, featuring Ronnie Wood on lead guitar. While it’s actually pretty cool, apparently the take wasn’t released until 1990, when it was included as a bonus track on a reissue of Bowie’s Pin Ups album.

Of course, there’s no way I can leave out my favorite Springsteen record from this playlist:¬†Born To Run, a pivotal album for The Boss, who at that time badly needed a commercially viable record. Well, he hit the mark, and the rest is history. In addition to the title track, the album includes other classics like Thunder Road, Tenth Avenue Freeze-Out, Jungleland and the tune I’d like to feature here: Backstreets. According to Songfacts, Springsteen told Rolling Stone in 2016 the song is about “Just youth, the beach, the night, friendships, the feeling of being an outcast and kind of living far away from things in this little outpost in New Jersey. It’s also about a place of personal refuge. It wasn’t a specific relationship or anything that brought the song into being.”

The River¬†has become one of my other favorite Springsteen records. I listened intensely to his fifth studio album from October 1980, leading up to my second and most recent Springsteen gig I saw in August 2016 during The River Tour – ironically, only to realize that by the time The Boss¬†hit New Jersey’s MetLife Stadium, the setlist hardly included any tracks from the record. Here’s Ramrod, a great garage rocker! Come on, come on, come on little sugar, Dance with your daddy and we’ll go ramroddin’ tonight…

Another album I can’t skip is the one that brought Springsteen on my radar screen back in Germany in the ’80s: Born In The U.S.A.¬†Obviously, it did the same for millions of other folks around the world. With hits like the title track, Dancing In The Dark and I’m On Fire, it¬†became Springsteen’s most commercially successful release and one of the highest selling records of all time. Here is one of the few tunes I believe were not released as a single: Downbound Train. The Boss first recorded this song as an acoustic demo in May 1982 during the sessions for his Nebraska album, along with several other tracks that ended up on Born In The U.S.A.

For the next selection, I’m jumping to the early ’90s: Lucky Town, Springsteen’s 10th studio album that was released at the end of March 1992, simultaneously with Human Touch. I still remember I bought both on CD at the same time. Here is the opener Better Days, which also became the lead single released 10 days ahead of the album. “With a young son and about to get married (for the last time) I was feelin’ like a happy guy who has his rough days rather than vice versa,” commented Springsteen, according to Songfacts. It’s a fairly simple track with a straightforward chord progression, but I just love the sound.

An important album in Springsteen’s catalog is The Rising from July 2002. Not only did it mark his first record in seven years, it also was the first with the E Street Band since Born In The U.S.A.¬†Hitting the right mood in the aftermath of 9/11, the album debuted at no. 1 on the Billboard 200, selling more than 500,000 copies in just the first week. While not all the tracks dealt directly with the terrorist attacks, here’s one that did: Into The Fire, a dedication to the firefighters who were lost that day: The sky was falling and streaked with blood/I heard you calling me, then you disappeared into the dust/Up the stairs, into the fire/Up the stairs, into the fire/I need your kiss, but love and duty called you someplace higher/Somewhere up the stairs/Into the fire…

In January 2009, Springsteen released his 16th studio album Working On A Dream. “Towards the end of recording¬†Magic [his preceding studio record from September 2007], excited by the return to pop production sounds, I continued writing,” Springsteen stated about the album. “When my friend producer Brendan O’Brien heard the new songs, he said, ‘Let’s keep going.’ Over the course of the next year, that’s just what we did, recording with the E Street Band during the breaks on last year’s tour. I hope ‘Working on a Dream’ has caught the energy of the band fresh off the road from some of the most exciting shows we’ve ever done. All the songs were written quickly, we usually used one of our first few takes, and we all had a blast making this one from beginning to end.” Here’s the official video for the title track.

I’d like to conclude this playlist with Springsteen’s latest record Western Stars, which appeared in June this year. It’s his first album of solo material since Devils & Dust from April 2005. While I don’t dislike the record, I have to admit I’m still getting used to both Springsteen’s singing and the sometimes lush sound – not many edges here. Here’s Tucson Train, the tale of a construction worker who left San Francisco and a difficult relationship to start a new life in Arizona, only for him and his woman to realize they miss each other, so she’s coming there to see him again.

Sources: Wikipedia, Songfacts, YouTube

Springsteen On Broadway Becomes Accessible To Broader Audience

Broadway solo performance now released as an album and on Netflix

Unfortunately, I’m among the folks who didn’t have a chance to see Bruce Springsteen’s¬†solo performance on Broadway, which closed yesterday. While I’ve no¬† doubt anything can replace the actual experience at New York City’s¬†Walter Kerr Theatre, the good news is Springsteen’s show has now become available to a broader audience. It was released as an album on Friday, and as of today it’s also on¬†Netflix¬†for streaming.

I had known for many years Springsteen is a terrific live music act. In fact, I feel fortunate to have witnessed this myself twice – once in Germany in the ’80s and in 2016 in New Jersey. Both are unforgettable concerts. But what truly blew me away is the power of Springsteen’s verbal story-telling he uses throughout the show to introduce his songs. The album does a beautiful job at capturing both the performances, including two songs for which he is joined by his wife and longtime E Street Band member Patti Scialfa,¬†and the story-telling. But it’s really the visual of the film that brings both aspects to life, particularly the latter. If you dig Springsteen and have access to Netflix, it’s a must-watch!

Springsteen on Broadway 2

Directed by Thom Zimny and shot by Joe DeSalvo, the film was captured before a private audience on July 17 and 18 this year. I assume the two performances also served as the basis for the album, since its audio sounds identical to the film. Springsteen’s Broadway show closely mirrors his 2016 autobiography Born To Run. It covers different stages of his life in chronological order, for example his upbringing in Freehold, N.J.; watching Elvis Presley on the Ed Sullivan Show as a 7-year-old and how that planted the seeds of his music career; or listening to the bleak stories of forgotten Vietnam veterans as a 30-year-old, which two years later would inspire the writing of one of his biggest hits and perhaps his most misunderstood song:¬†Born In The U.S.A.

Apart from sharing fascinating anecdotes, Springsteen displays a great sense of humor throughout the show. Take this example during the performance of the show’s first song Growin’ Up, where he launches into the following monologue: “I’ve never held an honest job in my life. I’ve never done any hard labor. I’ve never worked 9 to 5. I’ve never worked 5 days a week until right now. I don’t like it. I’ve never seen the inside of a factory and yet that’s all I’ve ever written about. Standing before you is a man who has become wildly and absurdly successful, writing about something, which he has had (pause) absolutely no personal experience. I, I made it all up. That’s how good I am.”

To give you a bit of a flavor, following are a few audio clips as well as the trailer for the Netflix film. First up: Part 1 of Springsteen’s intro to My Hometown:

Here’s Springsteen’s blistering acoustic slide guitar version of Born In The U.S.A.

To me one of the show’s highlights is Tenth Avenue Freeze-Out. Not only do I love this tune, but Springsteen’s comments during the song about former E Street Band saxophonist Clarence Clemons are truly moving.

Of course, no Springsteen gig would be complete without the epic Born To Run. So here it is!

The last clip I’d like to highlight is the trailer for the Netflix film.

While I have no doubt that Springsteen didn’t leave his monologues to chance, they come across as genuine, not memorized. If he embellished his stories here and there for bigger impact, it’s certainly not recognizable, at least not to me. I suspect this film will go down in music history as one of the best concert movies.

Sources: Wikipedia, New York Times, Rolling Stone, YouTube

Clips & Pix: Bruce Springsteen & The E Street Band/Born To Run and Dancing In The Dark

The other day, I was discussing Bruce Springsteen with fellow music blogger hotfox63 and one of his readers, who unfortunately had a bad sound experience with a show by The Boss in Germany. Yesterday, while cleaning my smartphone, I discovered the above clip I took from a gig Springsteen did with The E Street Band in late August 2016 during The River Tour.

I think this footage perfectly illustrates why Springsteen usually is such a compelling performer – because he visibly enjoys leaving it all on stage for his fans.¬† Yes, obviously, an artist needs some talent to be good, but what truly makes music exciting is genuine artist engagement, and Springsteen is all about that. I mean, just watch the guy – how can you not love that? It doesn’t even matter that the second tune in this medley,¬†Dancing In The Dark, isn’t Springsteen’s strongest song, at least in my opinion.

Born To Run is the title track of Springsteen’s third studio album from August 1975, which was his commercial breakthrough. Dancing In The Dark is from Born In The U.S.A., his seventh and most successful studio record. The song was also one of seven tracks from the album, which were released as singles, and it became his highest charting hit on the Billboard Hot 100, peaking at no. 2.

Sources: Wikipedia, YouTube

The Hardware: Fender Telecaster

World’s first commercially successful solid-body electric guitar continues to be popular to this day, more than 65 years after its introduction

Similar to the Fender Stratocaster and the Gibson Les Paul, which I covered in previous posts here and here, I could have called the Fender Telecaster the quintessential electric guitar. After all, that model predated the Stratocaster and the Les Paul by three years and one year, respectively. And while Paul Bigsby built the first solid-body for country and western artist Merle Travis in 1948, it was the Telecaster that became the first such electric guitar that was manufactured on a substantial scale.

But the truth is “quintessential” is largely in the eye of the beholder. I always loved the seductive shape of the Stratocaster. I also¬†thought Mark Knopfler created such a cool signature sound with it on Sultans of Swing, Once Upon a Time In the West and other early Dire Straits classics. Ultimately, that’s why I feel the Strat¬†is THE electric guitar and wrote about it first. On to the Telecaster.

The Telecaster was developed by inventor Leo Fender, the founder of the Fender Electric Instrument Company. He built the first prototype in the fall of 1949 and introduced it to the market in 1950 as the Fender Esquire, a solid-body with one single-coil pickup. But the Esquire was hampered by quality issues, especially around the guitar neck that easily bent, so it was only produced in limited numbers.

Fender Esquire 1951
Fender Esquire 1951

Fender addressed the lacking neck stability with the placement of a tross rod. He also added a second single-coil pickup to the guitar and renamed it the Fender Broadcaster. That name was very similar to Broadkaster drum sets made by Gretsch, so needed it be changed. The Broadcaster became the Telecaster in 1951, and the guitar has been sold under that brand name ever since.

The Telecaster featured several innovations and used production techniques that made manufacturing and repairing the guitar more cost-effective compared to models from Gibson and other manufacturers. Rather than constructing the Telecaster individually, Fender introduced the production of components that could easily be put together into the finished product on an assembly line.

Fender Telecaster 1951
1951 Fender Telecaster

Unlike the traditional glued in neck, the Telecaster had a “bolt-on” neck. Not only did this make production easier, but it also allowed for faster repair or replacement of the neck. Additionally, the neck on the classic Telecaster was made from a single piece of maple without a separate fingerboard.

Moreover, the bodies of the Telecaster were built with solid pieces of wood instead of being hand-carved individually. The Telecaster also featured easily accessible electronics. This was made possible through a removable control plate. In contrast, the electronics of the then-predominant hollow-body electric guitars could only be accessed through the soundholes.

Fender Telecaster Electronics Control Plate
Telecaster control plate for electonics

Unlike the Stratocaster, which got a lukewarm initial reception from many guitarists, the Telecaster was an immediate hit. This can be explained by the guitar’s distinct properties, which according¬†to Reverb¬†include: “A bridge pickup tone like to no other. The definition of twang when clean. The definition of rock when dirty; Liberating simplicity. Two pickups, two knobs, six strings, no frills. It forces you to be a better player; Surprising versatility. Across three pickup positions, different tone knob positions and varying levels of gain, the Tele is capable of an unexpected number of voices.”

I think it’s mainly the guitar’s versatility, which has made the Telecaster a staple in country, electric blues, rock & roll and other music genres. Like in the case of the Stratocaster and the¬†Les Paul, several customized versions of the Telecaster have appeared over the decades. These variants feature different pickup configurations like a humbucker in the neck position, dual humbuckers and three single-coil pickups. There is also a semi-hollow version called the Telecaster Thinline.

Now comes the part of this type of gear-focused post that excites me the most – a list of musicians who have championed the equipment.

James Burton

American guitarist James Burton, who has performed with Ricky Nelson, Elvis Presley, Johnny Cash, Glen Campbell, Roy Orbison and many others, has played a Telecaster since age 13 and is considered to be the most visible Tele player in the late ’50s. Here’s a great clip of Burton performing Johnny B. Goode live with Presley.

Albert Lee

Also known as Mr. Telecaster, English guitarist Albert Lee has played a Telecaster since 1963. Here is a cool live clip from the early ’70s of Lee performing¬†Country Boy with British country rock band Heads Hands & Feet – holy moly!

Albert Collins

American electric blues guitarist Albert Collins was called The Master of the Telecaster. The Fender Custom Shop offers an Albert Collins Signature Telecaster, which is based on his 1966 model featuring a humbucker pickup in the neck position. Here’s Collins with Iceman, the title song of his tenth and final studio album released in March 1991, two and a half years prior to his untimely death from lung cancer in November 1993 at age 61.

Keith Richards

Rolling Stones guitarist Keith Richards has used a variety of Telecasters throughout his long career. The most famous one is a ’53 Tele called Micawber. According to the Fender website, Richards got the Micawber from Eric Clapton as a present for his 27th birthday in 1970. At the time, the Stones were gearing up for Exile On Main Street. Shortly after the band’s ’72 tour, Richards replaced the single-coil pickup in the neck position with a ’50s Gibson PAF humbucker for extra bite. Here’s a clip of Richards in action with his Micawber, together with the Stones: Brown Sugar, from the 2016 concert in Havana, Cuba.

Muddy Waters

Blues guitar legend Muddy Waters played a red ’57 Telecaster. Until 2010, Fender offered a replica as part of its signature series, the Muddy Waters Telecaster. Here is a great clip of the maestro and his red Telecaster, performing I’m A King Bee, captured during ChicagoFest in 1981.

Bruce Springsteen

Of course, this short list of Telecaster champions would be incomplete without The Boss. Bruce Springsteen’s iconic guitar, which is pictured on the cover of the Born To Run album from 1975, is not a pure breed Telecaster. As Bobby Owsinski¬†explains on his Music Production Blog, it’s actually a hybrid from at least two other guitars: a ’50s Telecaster body with what looks like a ’57 Esquire neck, which Springsteen purchased at a guitar shop in Neptune, N.J.

Before selling it to The Boss, store owner Phil Petillo removed the two additional pickups that had been added to return the guitar to its original Telecaster configuration. Over the years, Petillo made significant additional modifications requested by Springsteen, including¬†triangular¬†Precision Frets,¬†a six saddle titanium bridge, as well as custom hot-wound waterproofed pickups and electronics, so the guitar could better withstand Springsteen’s marathon shows. In 2005, he retired his beloved instrument from live shows and has since played clones of it during tours. Springsteen continues to use the original for studio recordings. Here’s a clip of the mighty Born To Run, which is from a 1978 show and presumably features Springsteen’s original Telecaster hybrid. Man, watching this footage makes me want to see The Boss again!

Sources: Wikipedia; “Telecaster Buying Guide,” The Hub, March 2017; “Statocaster vs. Telecaster: The Differences That Matter,” Reverb, Nov 2016; “Interesting Mods: Keith Richards’ ‘Micawber’,” Fender website; “The Story Behind Bruce Springsteen’s Iconic Hybrid Telecaster,” Bobby Osinski, Music Production Blog; YouTube