Mai 18 2008

Bruce Springsteen Live in Asbury Park, NJ #2

Breaking News

Bruce Springsteen ist derzeit sehr spielfreudig.
Nach seinen Auftritten anlässlich der “Count Basie” und “Ranney School” Benefiz Shows überraschte er gestern die Zuschauer im Stone Pony, Asbury Park, NJ mit einem Auftritt.

Bruce unterstützte Mike Ness von “Social Distortion” bei folgenden Songs:

Misery Loves Company
Ball and Chain
If You Leave Before Me
I Fought The Law

Backstreets.com berichtet:

ASBURY PARK SOCIAL CLUB
Springsteen and Social D’s Mike Ness rock the Stone Pony
On Saturday night, or the second of two Mike Ness shows at the Pony, the Social Disortion frontman was joined on stage by his friend (and longtime fan) Bruce Springsteen. After watching the show from the soundboard, Springsteen joined in for a five-song encore. Linda tells us: “They launched into Bob Dylan’s ‘Don’t Think Twice, It’s All Right,’ followed by ‘Misery Loves Company,’ the song they did together on Mike’s 1999 solo CD, Cheating at Solitaire. Then they did my favorite Social D song, ‘Ball and Chain,’ but instead of sticking to the original rocking version, they did it as a slow, country ballad. Bruce sang the second verse, and the crowd went nuts. Next was a ‘If You Leave Before Me,’ from Cheating at Solitaire, followed by a fun ‘I Fought the Law.’ What was really cool was seeing the excitement and giddiness of Social D. fans after the show. Most of these fans are guys in their 20s — tattoos, pierced body parts, part hardcore punk/part rockabilly, and their hot Bettie Page-type girlfriends. They were so happy and excited, and I heard them saying, ‘Man, nothing gets better than this!’ and ‘Wow, can you believe it? How frickin’ amazing was that?!'” As Ness asked the crowd, “Aren’t you guys glad you came the second night?”

Fotos findet ihr hier

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Apr 25 2008

Farewell to Danny

Danny Federici

Bruce Sprinsteen hat auf seiner Homepage www.brucespringsteen.net einen Text veröffentlicht, den er auch auf der Beerdigung von Danny Federici vorgetragen hat:

FAREWELL TO DANNY

Let me start with the stories.

Back in the days of miracles, the frontier days when “Mad Dog” Lopez and his temper struck fear into the band, small club owners, innocent civilians and all women, children and small animals.

Back in the days when you could still sign your life away on the hood of a parked car in New York City.

Back shortly after a young red-headed accordionist struck gold on the Ted Mack Amateur Hour and he and his mama were sent to Switzerland to show them how it’s really done.

Back before beach bums were featured on the cover of Time magazine.

I’m talking about back when the E Street Band was a communist organization! My pal, quiet, shy Dan Federici, was a one-man creator of some of the hairiest circumstances of our 40 year career… And that wasn’t easy to do. He had “Mad Dog” Lopez to compete with…. Danny just outlasted him.

Maybe it was the “police riot” in Middletown, New Jersey. A show we were doing to raise bail money for “Mad Log” Lopez who was in jail in Richmond, Virginia, for having an altercation with police officers who we’d aggravated by playing too long. Danny allegedly knocked over our huge Marshall stacks on some of Middletown’s finest who had rushed the stage because we broke the law by…playing too long.

As I stood there watching, several police oficers crawled out from underneath the speaker cabinets and rushed away to seek medical attention. Another nice young officer stood in front of me onstage waving his nightstick, poking and calling me nasty names. I looked over to see Danny with a beefy police officer pulling on one arm while Flo Federici, his first wife, pulled on the other, assisting her man in resisting arrest.

A kid leapt from the audience onto the stage, momentarily distracting the beefy officer with the insults of the day. Forever thereafter, “Phantom” Dan Federici slipped into the crowd and disappeared.

A warrant out for his arrest and one month on the lam later, he still hadn’t been brought to justice. We hid him in various places but now we had a problem. We had a show coming at Monmouth College. We needed the money and we had to do the gig. We tried a replacement but it didn’t work out. So Danny, to all of our admiration, stepped up and said he’d risk his freedom, take the chance and play.

Show night. 2,000 screaming fans in the Monmouth College gym. We had it worked out so Danny would not appear onstage until the moment we started playing. We figured the police who were there to arrest him wouldn’t do so onstage during the show and risk starting another riot.

Let me set the scene for you. Danny is hiding, hunkered down in the backseat of a car in the parking lot. At five minutes to eight, our scheduled start time, I go out to whisk him in. I tap on the window.

“Danny, come on, it’s time.”

I hear back, “I’m not going.”

Me: “What do you mean you’re not going?”

Danny: “The cops are on the roof of the gym. I’ve seen them and they’re going to nail me the minute I step out of this car.”

As I open the door, I realize that Danny has been smoking a little something and had grown rather paranoid. I said, “Dan, there are no cops on the roof.”

He says, “Yes, I saw them, I tell you. I’m not coming in.”

So I used a procedure I’d call on often over the next forty years in dealing with my old pal’s concerns. I threatened him…and cajoled. Finally, out he came. Across the parking lot and into the gym we swept for a rapturous concert during which we laughted like thieves at our excellent dodge of the local cops.

At the end of the evening, during the last song, I pulled the entire crowd up onto the stage and Danny slipped into the audience and out the front door. Once again, “Phantom” Dan had made his exit. (I still get the occasional card from the old Chief of Police of Middletown wishing us well. Our histories are forever intertwined.) And that, my friends, was only the beginning.

There was the time Danny quit the band during a rough period at Max’s Kansas City, explaining to me that he was leaving to fix televisions. I asked him to think about that and come back later.

Or Danny, in the band rental car, bouncing off several parked cars after a night of entertainment, smashing out the windshield with his head but saved from severe injury by the huge hard cowboy hat he bought in Texas on our last Western swing.

Or Danny, leaving a large marijuana plant on the front seat of his car in a tow away zone. The car was promptly towed. He said, “Bruce, I’m going to go down and report that it was stolen.” I said, “I’m not sure that’s a good idea.”

Down he went and straight into the slammer without passing go.

Or Danny, the only member of the E Street Band to be physically thrown out of the Stone Pony. Considering all the money we made them, that wasn’t easy to do.

Or Danny receiving and surviving a “cautionary assault” from an enraged but restrained “Big Man” Clarence Clemons while they were living together and Danny finally drove the “Big Man” over the big top.

Or Danny assisting me in removing my foot from his stereo speaker after being the only band member ever to drive me into a violent rage.

And through it all, Danny played his beautiful, soulful B3 organ for me and our love grew. And continued to grow. Life is funny like that. He was my homeboy, and great, and for that you make considerations… And he was much more tolerant of my failures than I was of his.

When Danny wasn’t causing chaos, he was a sweet, talented, unassuming, unpretentious good-hearted guy who simply had an unchecked ability to make good fortune and things in general go fabulously wrong.

But beyond all of that, he also had a mountain of the right stuff. He had the heart and soul of an engineer. He learned to fly. He was always up on the latest technology and would explain it to you patiently and in enormous detail. He was always “souping” something up, his car, his stereo, his B3. When Patti joined the band, he was the most welcoming, thoughtful, kindest friend to the first woman entering our “boys club.”

He loved his kids, always bragging about Jason, Harley, and Madison, and he loved his wife Maya for the new things she brought into his life.

And then there was his artistry. He was the most intuitive player I’ve ever seen. His style was slippery and fluid, drawn to the spaces the other musicians in the E Street Band left. He wasn’t an assertive player, he was a complementary player. A true accompanist. He naturally supplied the glue that bound the band’s sound together. In doing so, he created for himself a very specific style. When you hear Dan Federici, you don’t hear a blanket of sound, you hear a riff, packed with energy, flying above everything else for a few moments and then gone back in the track. “Phantom” Dan Federici. Now you hear him, now you don’t.

Offstage, Danny couldn’t recite a lyric or a chord progression for one of my songs. Onstage, his ears opened up. He listened, he felt, he played, finding the perfect hole and placement for a chord or a flurry of notes. This style created a tremendous feeling of spontaneity in our ensemble playing.

In the studio, if I wanted to loosen up the track we were recording, I’d put Danny on it and not tell him what to play. I’d just set him loose. He brought with him the sound of the carnival, the amusements, the boardwalk, the beach, the geography of our youth and the heart and soul of the birthplace of the E Street Band.

Then we grew up. Very slowly. We stood together through a lot of trials and tribulations. Danny’s response to a mistake onstage, hard times, catastrophic events was usually a shrug and a smile. Sort of an “I am but one man in a raging sea, but I’m still afloat. And we’re all still here.”

I watched Danny fight and conquer some tough addictions. I watched him struggle to put his life together and in the last decade when the band reunited, thrive on sitting in his seat behind that big B3, filled with life and, yes, a new maturity, passion for his job, his family and his home in the brother and sisterhood of our band.

Finally, I watched him fight his cancer without complaint and with great courage and spirit. When I asked him how things looked, he just said, “what are you going to do? I’m looking forward to tomorrow.” Danny, the sunny side up fatalist. He never gave up right to the end.

A few weeks back we ended up onstage in Indianapolis for what would be the last time. Before we went on I asked him what he wanted to play and he said, “Sandy.” He wanted to strap on the accordion and revisit the boardwalk of our youth during the summer nights when we’d walk along the boards with all the time in the world.

So what if we just smashed into three parked cars, it’s a beautiful night! So what if we’re on the lam from the entire Middletown police department, let’s go take a swim! He wanted to play once more the song that is of course about the end of something wonderful and the beginning of something unknown and new.

Let’s go back to the days of miracles. Pete Townshend said, “a rock and roll band is a crazy thing. You meet some people when you’re a kid and unlike any other occupation in the whole world, you’re stuck with them your whole life no matter who they are or what crazy things they do.”

If we didn’t play together, the E Street Band at this point would probably not know one another. We wouldn’t be in this room together. But we do… We do play together. And every night at 8 p.m., we walk out on stage together and that, my friends, is a place where miracles occur…old and new miracles. And those you are with, in the presence of miracles, you never forget. Life does not separate you. Death does not separate you. Those you are with who create miracles for you, like Danny did for me every night, you are honored to be amongst.

Of course we all grow up and we know “it’s only rock and roll”…but it’s not. After a lifetime of watching a man perform his miracle for you, night after night, it feels an awful lot like love.

So today, making another one of his mysterious exits, we say farewell to Danny, “Phantom” Dan, Federici. Father, husband, my brother, my friend, my mystery, my thorn, my rose, my keyboard player, my miracle man and lifelong member in good standing of the house rockin’, pants droppin’, earth shockin’, hard rockin’, booty shakin’, love makin’, heart breakin’, soul cryin’… and, yes, death defyin’ legendary E Street Band.
Quelle: http://www.brucespringsteen.net

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Apr 15 2008

SETLIST: 14. April 2008 – Houston, TX – Toyota Center

Bruce Springsteen Live in Concert

14. April 2008 – Houston, TX – Toyota Center

Setlist:
Cadillac Ranch
Radio Nowhere
Lonesome Day
Atlantic City
Magic
Because The Night
Candy’s Room
She’s The One
Out In The Street
Livin In The Future
The Promised Land
Girl’s In Their Summer Clothes
The E-Street Shuffle
Terry’s Song (anlässlich Terry McGoverns 68ten Geburtstag)
Devil’s Arcade
The Rising
Last To Die
Long Walk Home
Badlands
Thunder Road
Always A Friend (mit Alejandro Escovedo)
All Just To Get To You (mit Joe Ely)
Rosalita
Born To Run
Tenth Ave Freeze-Out
American Land

Mehr Infos, Berichte und Fotos findet ihr im Tourtagebuch.

Das nächste Konzert: 18. April 2008 – Ft Lauderdale, FL – Bank Atlantic Center

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Aug 15 2007

Neues Patti Scialfa Album

Patti Scialfa

Am 31. August 2007 erscheint ein neues Patti Scialfa Album namens “PLAY IT AS IT LAYS”.

!!! Das Album kann hier vorbestellt werden !!!

Tracklist:
Looking for Elvis
Like Any Woman Would
Town Called Heartbreak
Play Around
Rainy Day Man
The Word
Bad For You
Run, Run, Run
Play It As It Lays
Black Adder

Columbia Records Announces the Release of New Patti Scialfa Album, ‘Play It As It Lays’

NEW YORK, July 2 /PRNewswire/ — Columbia Records is set to release “Play It As It Lays,” the eagerly-anticipated new album from American singer-songwriter-musician Patti Scialfa, on Tuesday, September 4.

Patti Scialfa will make a series of rare live TV appearances the week of her album launch including both NBC-TV’s “Today” and CBS-TV’s “Late Show with David Letterman” on Tuesday, September 4 as well as ABC-TV’s “The View” on Thursday, September 6. (Please check your local listings).

“Play It As It Lays” is the first album of new music from Patti Scialfa since the release of her critically acclaimed “23rd Street Lullaby” in 2004 and is the artist’s third solo album since the release of her debut, “Rumble Doll,” in 1993.

“Play It As It Lays” premieres 10 new songs, written and performed by Patti Scialfa, showcasing the artist’s soulful command of melody and language in a series of expressive and intimate musical narratives incorporating elements of roots rock, folk, country, street corner doo-wop, girl groups and more into a sound and sensibility uniquely her own.

Tracks on “Play It As It Lays” include: “Looking For Elvis,” “Like Any Woman Would,” “Town Called Heartbreak,” Play Around,” “Rainy Day Man,” “The Word,” “Bad For You,” “Run, Run, Run,” “Play It As It Lays,” and “Black Ladder.”

The album is produced by Patti Scialfa, Ron Aniello (Lifehouse, Guster, Barenaked Ladies), and Steve Jordan (Patti’s co-producer on “23rd Street Lullaby,” Jordan served as musical director for the PBS series “Martin Scorsese Presents the Blues” and has produced albums by Keith Richards, John Mayer, the Jon Spencer Blues Explosion and others).

“Play It As It Lays” features Patti (vocals, acoustic guitar, banjo, Wurlitzer organ) backed by the ‘Whack Brothers’ Rhythm Section: Cliff Carter (keyboards), Steve Jordon (drums and percussion, acoustic guitar), Nils Lofgren (guitars, pedal steel guitar, dobro), Bruce Springsteen (Hammond B3 organ, acoustic guitars, electric guitar, harmonica) and Willie Weeks (bass). Additional players on the album include co-producer Ron Aniello (guitar, keyboards), Crusher Bennet (percussion), Jeremy Chatzky (bass), Mark Stewart (cello, guitar, banjo), Scott Tibbs (synthesized strings), and Soozie Tyrell (violin, background vocals), with whom Patti gigged back in her early musical busking days. Other background vocals are provided by Lisa Lowell, Michelle Moore, Cindy Mizelle and Curtis King.

Each of Patti Scialfa’s previous solo albums — “Rumble Doll” (1993) and “23rd Street Lullaby” (2004) — received four-star reviews in Rolling Stone magazine who praised her ” … clear-eyed joyfulness and unpretentious appeal … (evoking) … a woman not haunted by her past but enriched by it.” Columbia Records
Quelle

Mehr Infos und Hörproben findet ihr auf der der offiziellen Homepage

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Mai 19 2007

Jesse Malin – “Broken Radio” – das Video mit Bruce Springsteen

Zu Jesse Malins neuem Song “Broken Radio” gibts jetzt auch ein Video:

Presseinfo:

Jesse Malin – Glitter in the Gutter
Glitter in the Gutter is the new album from NYC’s Jesse Malin, an artist who has transcended tags like “singer/songwriter” for something different and largely indefinable.
Penned “a fearless storyteller”
(music critic Nigel Williamson), after releasing two critically acclaimed albums The Fine Art of Self Destruction and The Heat, Jesse has established himself as a career musician who writes songs that connect on so many levels that above all, he’s a healer. The songs on Glitter in the Gutter have kept the intimate slice of life and detail of his previous records but also work on a larger palate. Jesse writes locally but thinks globally and makes his songs identifiable so that they can connect with people in every part of the world.
On this new album, he writes about hope, struggles and smiles; about finding ways “to keep on keeping on.” Through his characters, like the woman who searches for salvation across the car radio dials in his song “Broken Radio”, or the kid hiding his face in the cereal box in “Modern World”, Malin points out “the little things that keep us laughing.” Malin is able to convey happiness and sadness in the same note. This happens throughout Glitter in the Gutter. He explains that Glitter in the Gutter is “just a record about people and the things we do to stay alive.”
The available time and iconography surrounding Glitter in the Gutter allowed Jesse to make the album he’s only hinted at with previous releases. “I’ve never made a record outside of New York my whole life—not even above 14th Street—so it was a different experience to be locked away in California,” he explains about the experience of recording the album in Los Angeles. “Right before we came out to [to California] I lost my apartment in New York, so I threw everything in storage in Queens and packed my life in a suitcase. So, yeah, this album had a lot of transient fugitive properties.”
Whether it was that type of personal impermanence or the uncertainty of our country’s future, Glitter in the Gutter is a wide musical spectrum. This album is an up-tempo, raw modern pop record that feels like a celebration of life as well as a rally to arms from the minute it begins with the anthemic opener “Don’t Let The Take You Down”. Glitter contains some work from guests of fellow musicians that Jesse has met on the road over the last 3 years, such as Queens of the Stone Age’s Josh Homme, who plays his signature guitar riffs on “Tomorrow Tonight” and Chris Shifflet of the Foo Fighters, whose iron fisted rhythms appear on “Prisoners of Paradise”. Jakob Dylan adds sweet sad harmonies on “Black Haired Girl” and there is a piano fueled duet with Bruce Springsteen titled “Broken Radio” that includes the sonic jubilee of Ryan Adams on electric guitar. There are also some other very special moments with Ryan (producer of Malin’s debut The Fine Art of Self Destruction, old pal and sometimes partner in crime) like his Latina guitar and back-ups vocals on the album closer “Aftermath”, and his blistering rock on “Modern World” and “Little Star”. Jesse remarks, “to me it’s all about songs, whether written by Elton John or Wilco or The Bad Brains”.
Jesse finds comfort in the transient life of living out of a suitcase and being under the hot stage lights sweating with the crowd. A Queens born NY native who now resides downtown Manhattan, he grew up touring in punk bands (DGeneration and Heart Attack). He will spend most of the year touring with his new rock band The Heat. Jesse feels that “being in a rock band is like being in a gang. Music should make you want to run through the streets with your pals, or make you want to fall in love or raise a glass.”
Of the live experience, he believes “it is equally, if not more important to the connection, especially in these days of enhanced home entertainment computerized myspace.com addictions. How else can you get people out of their houses today?” he quips. When he performs, it’s about interaction through participation. He gives his fans something to celebrate. When he sits down on the floor among the crowd in mid-song, everyone follows.
“We were born in flames, maiden names, suburban homes, make your bones Bite your lip, take the fifth, know your rights, it’s your life now Don’t let them take you down….it’s a beautiful day.”

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