Thursday, June 30, 2011

Farewell Clarence




This is a slightly revised version of the eulogy Bruce Springsteen delivered for Clarence Clemons at his memorial:

I've been sitting here listening to everyone talk about Clarence and staring at that photo of the two of us right there. It's a picture of Scooter and The Big Man, people who we were sometimes. As you can see in this particular photo, Clarence is admiring his muscles and I'm pretending to be nonchalant while leaning upon him. I leaned on Clarence a lot; I made a career out of it in some ways.

Those of us who shared Clarence's life, shared with him his love and his confusion. Though "C" mellowed with age, he was always a wild and unpredictable ride. Today I see his sons Nicky, Chuck, Christopher and Jarod sitting here and I see in them the reflection of a lot of C's qualities. I see his light, his darkness, his sweetness, his roughness, his gentleness, his anger, his brilliance, his handsomeness, and his goodness. But, as you boys know your pop was a not a day at the beach. "C" lived a life where he did what he wanted to do and he let the chips, human and otherwise, fall where they may. Like a lot of us your pop was capable of great magic and also of making quite an amazing mess. This was just the nature of your daddy and my beautiful friend. Clarence's unconditional love, which was very real, came with a lot of conditions. Your pop was a major project and always a work in progress. "C" never approached anything linearly, life never proceeded in a straight line. He never went A... B.... C.... D. It was always A... J.... C.... Z... Q... I....! That was the way Clarence lived and made his way through the world. I know that can lead to a lot of confusion and hurt, but your father also carried a lot of love with him, and I know he loved each of you very very dearly.

It took a village to take care of Clarence Clemons. Tina, I'm so glad you're here. Thank you for taking care of my friend, for loving him. Victoria, you've been a loving, kind and caring wife to Clarence and you made a huge difference in his life at a time when the going was not always easy. To all of "C's" vast support network, names too numerous to mention, you know who you are and we thank you. Your rewards await you at the pearly gates. My pal was a tough act but he brought things into your life that were unique and when he turned on that love light, it illuminated your world. I was lucky enough to stand in that light for almost 40 years, near Clarence's heart, in the Temple of Soul.

So a little bit of history: from the early days when Clarence and I traveled together, we'd pull up to the evening's lodgings and within minutes "C" would transform his room into a world of his own. Out came the colored scarves to be draped over the lamps, the scented candles, the incense, the patchouli oil, the herbs, the music, the day would be banished, entertainment would come and go, and Clarence the Shaman would reign and work his magic, night after night. Clarence's ability to enjoy Clarence was incredible. By 69, he'd had a good run, because he'd already lived about 10 lives, 690 years in the life of an average man. Every night, in every place, the magic came flying out of C's suitcase. As soon as success allowed, his dressing room would take on the same trappings as his hotel room until a visit there was like a trip to a sovereign nation that had just struck huge oil reserves. "C" always knew how to live. Long before Prince was out of his diapers, an air of raunchy mysticism ruled in the Big Man's world. I'd wander in from my dressing room, which contained several fine couches and some athletic lockers, and wonder what I was doing wrong! Somewhere along the way all of this was christened the Temple of Soul; and "C" presided smilingly over its secrets, and its pleasures. Being allowed admittance to the Temple's wonders was a lovely thing.

As a young child my son Sam became enchanted with the Big Man... no surprise. To a child Clarence was a towering fairy tale figure, out of some very exotic storybook. He was a dreadlocked giant, with great hands and a deep mellifluous voice sugared with kindness and regard. And... to Sammy, who was just a little white boy, he was deeply and mysteriously black. In Sammy's eyes, "C" must have appeared as all of the African continent, shot through with American cool, rolled into one welcoming and loving figure. So... Sammy decided to pass on my work shirts and became fascinated by Clarence's suits and his royal robes. He declined a seat in dad's van and opted for "C's" stretch limousine, sitting by his side on the slow cruise to the show. He decided dinner in front of the hometown locker just wouldn't do, and he'd saunter up the hall and disappear into the Temple of Soul.

Of course, also enchanted was Sam's dad, from the first time I saw my pal striding out of the shadows of a half empty bar in Asbury Park, a path opening up before him; here comes my brother, here comes my sax man, my inspiration, my partner, my lifelong friend. Standing next to Clarence was like standing next to the baddest ass on the planet. You were proud, you were strong, you were excited and laughing with what might happen, with what together, you might be able to do. You felt like no matter what the day or the night brought, nothing was going to touch you. Clarence could be fragile but he also emanated power and safety, and in some funny way we became each other's protectors; I think perhaps I protected "C" from a world where it still wasn't so easy to be big and black. Racism was ever present and over the years together, we saw it. Clarence's celebrity and size did not make him immune. I think perhaps "C" protected me from a world where it wasn't always so easy to be an insecure, weird and skinny white boy either. But, standing together we were badass, on any given night, on our turf, some of the baddest asses on the planet. We were united, we were strong, we were righteous, we were unmovable, we were funny, we were corny as hell and as serious as death itself. And we were coming to your town to shake you and to wake you up. Together, we told an older, richer story about the possibilities of friendship that transcended those I'd written in my songs and in my music. Clarence carried it in his heart. It was a story where the Scooter and the Big Man not only busted the city in half, but we kicked ass and remade the city, shaping it into the kind of place where our friendship would not be such an anomaly. And that... that's what I'm gonna miss. The chance to renew that vow and double down on that story on a nightly basis, because that is something, that is the thing that we did together... the two of us. Clarence was big, and he made me feel, and think, and love, and dream big. How big was the Big Man? Too fucking big to die. And that's just the facts. You can put it on his grave stone, you can tattoo it over your heart. Accept it... it's the New World.

Clarence doesn't leave the E Street Band when he dies. He leaves when we die.

So, I'll miss my friend, his sax, the force of nature his sound was, his glory, his foolishness, his accomplishments, his face, his hands, his humor, his skin, his noise, his confusion, his power, his peace. But his love and his story, the story that he gave me, that he whispered in my ear, that he allowed me to tell... and that he gave to you... is gonna carry on. I'm no mystic, but the undertow, the mystery and power of Clarence and my friendship leads me to believe we must have stood together in other, older times, along other rivers, in other cities, in other fields, doing our modest version of god's work... work that's still unfinished. So I won't say goodbye to my brother, I'll simply say, see you in the next life, further on up the road, where we will once again pick up that work, and get it done.

Big Man, thank you for your kindness, your strength, your dedication, your work, your story. Thanks for the miracle... and for letting a little white boy slip through the side door of the Temple of Soul.

SO LADIES AND GENTLEMAN... ALWAYS LAST, BUT NEVER LEAST. LET'S HEAR IT FOR THE MASTER OF DISASTER, the BIG KAHUNA, the MAN WITH A PHD IN SAXUAL HEALING, the DUKE OF PADUCAH, the KING OF THE WORLD, LOOK OUT OBAMA! THE NEXT BLACK PRESIDENT OF THE UNITED STATES EVEN THOUGH HE'S DEAD... YOU WISH YOU COULD BE LIKE HIM BUT YOU CAN'T! LADIES AND GENTLEMEN, THE BIGGEST MAN YOU'VE EVER SEEN!... GIVE ME A C-L-A-R-E-N-C-E. WHAT'S THAT SPELL? CLARENCE! WHAT'S THAT SPELL? CLARENCE! WHAT'S THAT SPELL? CLARENCE! ... amen.

I'm gonna leave you today with a quote from the Big Man himself, which he shared on the plane ride home from Buffalo, the last show of the last tour. As we celebrated in the front cabin congratulating one another and telling tales of the many epic shows, rocking nights and good times we'd shared, "C" sat quietly, taking it all in, then he raised his glass, smiled and said to all gathered, "This could be the start of something big."

Love you, "C".

Tuesday, June 28, 2011

Setlist: Fleet Foxes

Thanks to BPD member Berry Babe for sending in this setlist for Fleet Foxes:

The Cascades
Grown Ocean
Drops In The River
Battery Kinzie
Sim Sala Bim
Mykonos
Your Protector
White Winter Hymnal
Ragged Wood
Lorelai
The Shrine/An Argument
Blue Spotted Tail
Blue Ridge Mountains
Helplessness Blues

Thursday, June 23, 2011

Member Review: Peter Gabriel



Subscriber Buenavista sent us this detailed review:

If you weren't a hardcore Gabriel fan, this show may not have been for you.

The adventurous and challenging 61-year-old Brit is currently touring with The New Blood Orchestra in support of his 2010 covers album, Scratch My Back.

What made the show so unique was that there were no guitars and no drums. PG did bring some major strings, horns, and woodwind players, conducted by Ben Foster, along with two female backup singers - his daughter Melanie and Norwegian opening act Ana Brun - to perform alternately somber and dramatic orchestral arrangements of some of his best known songs and covers while stunning visuals were provided on multiple LED screens at the front and back of the stage.

Backstage, Gabriel, dressed in a black vest and pants, explained to me his idea behind Scratch My Back. He sees it as a songwriter’s exchange that will eventually see those artists whose songs he covered, cover his songs.

Then he adds, "Hopefully. Herding songwriters is a bit like herding cats”.

In the meantime, a new album called New Blood, featuring orchestral arrangements of Gabriel songs, many that he performed at the show, is due this year.

Opening with a very serious, sad, slow and almost completely unrecognizable version of David Bowie’s Heroes, it took a few songs for Gabriel and the New Blood Orchestra to hit their stride with Paul Simon’s The Boy In The Bubble and Arcade Fire’s My Body Is a Cage as he grew stronger vocally, hitting some mighty high notes, and the arrangements became more powerful.

He even screwed up the opening of the second song, Wallflower, and joked about it before beginning again.

But nothing could prepare the audience for the tearjerking presentation of Father, Son that followed as Gabriel explained how he had spent a week with his 99-year-old father and a yoga instructor and had burst into tears at one point but his father had caught him and held him.

“What do they say about country music? Three chords and the truth? That was my country moment,” said Gabriel.

As he sang the heartfelt song, black and white film of him and his father together was shown on the LED screens, and there was barely a dry eye in the house.

Gabriel is such an emotionally open and soulful singer that his vulnerability can be truly overwhelming at times.

Still, famously known as a theatrical performer, he was much more static alongside the New Blood Orchestra - with Foster a much bigger presence - until he broke out his South African protest song, Biko, at the end of the first set and got everyone standing on their feet with one arm raised and singing along.

After a short intermission, Gabriel returned for a much stronger second set with such highlights as Digging in The Dirt, Signal To Noise, Downside Up, and Rhythm of the Heat, but they were trumped by awe-inspiring versions of Mercy Street, Red Rain, In Your Eyes, and Don’t Give Up (with Brun taking over Kate Bush’s part) - all from his album So which is celebrating its 25th anniversary this year - and the really creepy but effective Intruder.

Gabriel even broke out the tambourine in the second set and finally skipped around the stage during Solsbury Hill right before the encore and not a moment too soon.

SET LIST:

Heroes (David Bowie cover)

Wallflower

Après Moi (Regina Spektor cover)

The Boy in the Bubble (Paul Simon cover)

My Body Is a Cage (Arcade Fire cover)

Father, Son

Darkness

Washing of the Water

Biko

INTERMISSION

San Jacinto

Digging in the Dirt

Signal to Noise

Downside Up

Mercy Street

The Rhythm of the Heat

Blood of Eden

Intruder

Red Rain

Solsbury Hill

ENCORE:

In Your Eyes

Don’t Give Up

The Nest That Sailed the Sky

Let me tell you how great it was to spend some time with someone who has been such an inspiration to me and my songwriting. Without BackstagePassDirect, I doubt that this ever could have happened.

Thanks guys.

Thank you, Buenavista. We appreciate your keeping your brothers and sisters here informed.

If you want to spend some tme and space with your "inspiration", we can help make it happen. Go to BackstagePassDirect and sign up today.

Monday, June 20, 2011

Setlist: K D Lang

Member BethanyB just posted this to us:

SET LIST:

I Confess

Summer Fling

The Water’s Edge

Miss Chatelaine

Helpless (Neil Young cover)

Hallelujah (Leonard Cohen cover)

A Sleep With No Dreaming

Western Stars (Chris Isaak cover)

Perfect Word

Habit Of Mind

Reminiscing (Little River Band cover)

Sorrow Nevermore

Constant Craving

ENCORE:

Heaven (Talking Heads cover)

Sugar Buzz

Friday, June 17, 2011

Member Review: Rihanna



BPD member Sista52 posted this report:

The help of a live backing band, an entourage of dancers, plus extensive production and pageantry made Rihanna's Loud tour seem more like a variety show than merely a concert.

She's currently benefiting from a red hot record and has grown more comfortable in her entertainer's skin than when I saw her 3 years ago. Granted, her vocals are modest at best and her personality lacks the immediate charisma of others like Beyonce or Lady Gaga, but the infectious songs spoke for themselves, while the endless barrage of action prevented even the harshest of skeptics from being bored.

After opening with the shiny synth popper "Only Girl (In the World)," Rihanna dove straight into the instant dance party "Disturbia" and brought a car on stage for her older, attitude-strewn R&B romp "Shut Up and Drive." Speaking of oldies, the 23-year-old gave the mostly youthful audience an education in classic soul with a naughty rendition of Prince's "Darling Nikki," and later, a mash-up of her own "Breakin' Dishes" with Sheila E.'s "The Glamorous Life."

Though it was impossible for her ultra-famous duet partners to appear in person (like Jay-Z, Kanye West, Eminem, T.I., Ne-Yo and Drake, to name a few), Rihanna performed her parts of "Run This Town," "Live Your Life" and "Hate That I Love You" to rapt applause and audience participation. Despite their enormous popularity, some of her own songs lacked similar magnetism, including the whiny "Unfaithful" and the downright annoying "Rude Boy."

Yet Rihanna's final stretch of solo songs was virtually unstoppable, starting with the throbbing "Don't Stop the Music," which made creative use of Michael Jackson's "Don't Stop 'Til You Get Enough" and instantly filled the aisles. From there, she ducked out of the limelight with the ever so appropriate ballad "Take a Bow," returning for the piano accompanied contemplation "Love The Way You Lie (Part II)" and her ultimate anthem "Umbrella" to keep the party going well into the night.


After the show, we sat and talked for 10 minutes or so. I really appreciated the act that she took time to be with me.
Thanks, Sista52. We always appreciate when members can share their experiences.

Now's a good time to start planning for the Fall season. If you're still not a member, it's not too late. A full year's membership is only $49; why not sign up today?

Monday, June 13, 2011

Clarence Clemons Update

We didn't want to believe it when we heard the news, but BPD has confirmed that Clarence Clemons, sax extraordinaire of Bruce Springsteen's E Street Band has suffered a massive stroke. After two subsequent brain surgeries at a Florida hospital, the good news is that Clarence is currently responsive and in stable condition, though still in a fight for his life.

The latest out of Florida has Clarence Clemons in better condition than anyone expected. "Yesterday, it did not look good at all. Today... his vital signs are improving. He's responsive. His eyes are welling up when we're talking to him. He was paralyzed on his left side, but now he's squeezing with his left hand. This is the best news we've heard since the stroke happened. The next five days will still be critical. But he's a fighter. He's fought back from so much before."

Recently speaking about he last tour, Clarence confided:
    "With all that pain and agony I went through on the last tour — I'd do it again. There's something about being on stage. I call it the Healing Floor. I do all this shit up there and then I think back later and say, 'How the hell did I do that?' But it's what I'm supposed to do. It revives me."

Please join us in continuing to send prayers, love, and light to the Big Man.

Thursday, June 9, 2011

Member Review: U2



BPD member RoosterBooster follows up on last week's setlist with a full review of a recent U2 show:

What can I say? All the superlatives, everything anyone has ever said about being backstage, didn't prepare me for the awesomeness of hanging with U2. Anything I want to write feels inadequate. So I'll talk about the show.

All that spectacle — the 50-metre-tall alien-spider Claw rigging, the eyepopping light show, the circular stage with its outer ring and moving bridges, the shapeshifting wraparound video screen, the (believe it or not) pre-concert fighter- jet flyovers — would have meant little without songs and showmanship to back it up.

Luckily, U2 were larger than life in that regard too. From the moment they took the stage around 9 p.m. to the strains of David Bowie's Space Oddity — and opened, ironically enough, with Even Better Than the Real Thing — the iconic quartet proved that pound for pound, they may very well be the greatest live act on the planet.

Bono certainly earned his share of that accolade. Sauntering and bounding around his $35 million playground, the black leather-clad singer was the consummate frontman, energizing the crowd with every rock-star gesture, coaxing them to sing along with every soaring chorus.

While Bono was the obvious focal point of the night, the rest of the band weren't playing second fiddle. White-haired (and white-suited) Adam Clayton, like all great bassists, was a study in understated cool, casually strolling and posing while unspooling thick, propulsive lines.

Guitarist The Edge, sporting his trademark skullcap and goatee, was only slightly more animated, focusing his concentration on picking his chiming guitar lines, manipulating them with his vast array of effects and handling backup vocal chores through his headset mic.

And drummer Larry Mullen Jr. thwacked away on his rotating drum riser and was more Ringo or Charlie than Neil Peart, but efficiently effective at his role: Holding down the centre of the sound (and the centre of the stage) so Bono and Edge can roam where they want and still find their way back.

That would come soon enough. First, the band dished up a handful of hits that literally spanned their career. Real Thing was followed by the rousing 1980 breakthrough I Will Follow (from their debut Boy) and the groovy Get on Your Boots (from their most recent outing No Line on the Horizon).

Then came a soothing Magnificent, a hypnotically funky Mysterious Ways, a fuzzed-up Elevation that included a "whoo-hoo" singalong refrain, and a clanging version of Until the End of the World, which ended with Bono and Edge joining hands across the gap of two moving walkways.

But the real fun began when Bono started to tweak and twist songs, sometimes on the fly.

He tossed a bit of Where Have All the Flowers Gone? into End of the World. One included a verse of Will You Still Love Me Tomorrow? Walk On closed with You’ll Never Walk Alone. I'll Go Crazy if I Don't Go Crazy Tonight (which allowed Mullen to leave his kit and slap a djembe while strolling the circular walkway) ended up sporting multiple personalities, with portions of Discotheque, Talking Heads’ Life During Wartime and Psycho Killer, among others. Of course, nothing hit home quite as solidly as Beautiful Day, which found Bono quoting Neil Young’s Heart of Gold, and Vertigo, which was spiked with BTO’s You Ain’t Seen Nothin’ Yet (earlier in the night, he pulled a young woman out of the audience to help him read the lyrics).

Fun as it was to follow his musical detours, it was hard not to become fixated on the production.

While it didn’t quite live up to its stated goal of being so big it made the stadium seem small, it couldn't fail to impress the bejeezus out of you. For instance: The video screen came alive during Miss Sarajevo, slowly stretttccchhhing downward from the underside of the Claw until it reached the stage and encircled the band. It raised up enough during City of Blinding Lights to reveal the musicians playing in lighted suits while the fully illuminated Claw and spire throbbed and flashed, with giant spotlights at the top shining upward to the heavens.

It was simply one of the most stunning rock-show spectacles I have witnessed — and I’ve watched Jimmy Page playing his Les Paul with a bow inside a giant green laser pyramid.
Twice.

From there, U2's creative arc ended more or less the way they had begun: With more hits, from the crushing Vertigo and the monumental Sunday Bloody Sunday to the anthemic One and the grand Where the Streets Have No Name.

For the second encore, Bono came out swinging on a microphone that was set inside a glowing red ring and suspended from the rigging. At any other show, it would have been a highlight; here it was only the third or fourth-coolest moment of the night.

Not that anybody complained about it — nor about the fact they skipped their usual closer Moment of Surrender.By the time they wrapped with With or Without You, they’d supplied 130 minutes of the most powerful, passionate and stylishly presented rock we've seen for some time. Or is likely to be seen for some time.

Can’t get much better than that.

Does sound like it, RB.

If you're not a BPD member, the only way you can get some of this is to become one. Do it today.

Monday, June 6, 2011

Member Review: Ray LaMontagne



From subscriber Tawdry 22:

If you closed your eyes and listened to singer-songwriter Ray LaMontagne’s delivery, at times you would think you’re listening to an old bluesman born and bred on the shores of the Mississippi.

LaMontagne's style does is some delightfully strange concoction of Van Morrison, Sam Cooke and The Band, one which was showcased for most of his 16-song, 95-minute set.

LaMontagne and his backing group The Pariah Dogs are still supporting last year’s God Willin’ & The Creek Don’t Rise. The album certainly wasn’t ignored as only one of the ten tracks, This Love Is Over, was shunned in the set list.

Wearing a plaid shirt and looking as if he still had some firewood to chop up, LaMontagne commenced with the tender Like Rock And Roll And Radio alone with a guitar and harmonica. The delicate touches he provided on numbers like Trouble as especially Old Before Your Time contrasted perfectly with his at times rough, raspy timbre.

Far from the proto-typical rock star and sporadically acknowledging the shouts of appreciation from the generation-spanning audience, LaMontagne excelled when the three influences emerged simultaneously. The chugging Devil’s In The Jukebox and Repo Man, the latter a groove-laced jam with the singer and drummer Jay Bellerose wasting no time finding their chemistry on.

Content to avoid the spotlight by being on one end of a half-circle of musicians including guitarists and pedal steel masters Eric Heywood and Greg Leisz, LaMontagne missed the mark a bit on Are We Really Through and For The Summer. You Can Bring Me Flowers featuring support siblings The Secret Sisters meanwhile earned a very strong response as did Henry Nearly Killed Me that again melded many musical fields.

With about a half-hour left until the curfew would rear its head, LaMontagne went for a quick one-song encore of All The Wild Horses before a quick bow brought up the house lights.

I asked hm about the "quick out“ when they returned to the back. He replied "I felt we were a bit sloppy, but sloppy in a good way."

A good way indeed.

The hot summer season is about to arrive. What better way to see your best bands than from backstage. Why not join BackstagePassDirect today?

Thursday, June 2, 2011

Setlist: U2

BPD member RoosterBooster was the lucky SOB  to score 5 passes to a recent U2 extravaganza. Here's the setlist he submitted ( along with the promise of a full review to follow):

Set List:

Even Better Than the Real Thing

I Will Follow

Get on Your Boots

Magnificent

Mysterious Ways

Elevation

Until the End of the World (w/ Where Have All the Flowers Gone?)

All I Want is You

Stay (Faraway, So Close)

Beautiful Day (w/ Heart of Gold)

Pride (In the Name of Love)

Miss Sarajevo

Zooropa

City of Blinding Lights

Vertigo (w/ You Ain’t Seen Nothin’ Yet)

I'll Go Crazy if I Don't Go Crazy Tonight (w/ Discotheque, Life During Wartime, Psycho Killer, Please)

Sunday Bloody Sunday

Scarlet

Walk On (w/ You’ll Never Walk Alone)

Happy Birthday (to Amnesty International)

Encore:

Aung San Suu Kyi Message

One (w/ Will You Still Love Me Tomorrow?) Where the Streets Have No Name

Encore 2:

Hold Me, Thrill Me, Kiss Me, Kill Me

With or Without You