From: owner-luckytown-digest@luckytown.org (LuckyTown Digest) To: luckytown-digest@luckytown.org Subject: LuckyTown Digest V9 #101 Reply-To: luckytown@luckytown.org Sender: owner-luckytown-digest@luckytown.org Errors-To: owner-luckytown-digest@luckytown.org Precedence: bulk LuckyTown Digest Friday, November 1 2002 Volume 09 : Number 101 NOTE: Sale/trade posts should be emailed to luckytown-ads, *NOT* to luckytown. That includes tix wanted/tix grovels, post them to luckytown-ads, please. Contents: Bruce's interview ["Jadranka Kanceljak" ] more concerts in Europe 2003 [Mannherz@t-online.de (Uwe Mannherz)] FW: CLARENCE CLEMONS TEMPLE OF SOUL TO BE RELEASED ON 11/5/02 ["Kevin Kin] Light Of Day schedule [NJBOB113@aol.com] The Rising & processing grief ["Sarah M. Schiller" ] Bruce and Stadiums ["David Sipple" ] RE:Youngest fan ["Myers, Wes" ] London Wembley Show: [or as Jerry Lee Lewis said: "Too much love will drive a man insane!"] ["Matthew Rodinos (@ Synergy Investments)" Subject: Bruce's interview There's been a very interesting discussion about Bruce's lyrics and meaning of some songs, so let's see what Bruce says in his interview in magazine Uncut, September 2002: MARY'S PLACE "The band is playing hard, loud and with intensity, and the music itself is very bright for the most part. For the first time I made a record with the E Street Band in 18 years I wanted a record that was gonna be fun for people to listen to, and exciting, that people used the way people use rock records, which is either to clean your house or to change your life if you want to, y'know? That was an essential element. Without that, the lyrics as they stand would not work. They work because they're embadded in music that is very life-affirming. That balance has been something I think I've struck in all my best songs, like my verses are always the blues and my choruses are gospel. You go to The Promised Land or Badlands they're based on the idea that your feet are grounded in the everyday, in the real world, but your spirit is reaching high." "The record needed to be filled with a certain sort of hopeful energy but the hope had to be earned, y'know? It couldn't just be platitudes or 'Everything's gonna be all right' or 'Things are gonna be better'. So, if you look at a song like Mary's Place - 'We're gonna have a party' Then you go back to the verses and see all the other stuff is in the verses, somebody trying to sort through what happened, and 'What's my place and where do I go tonight and how do I deal with this minute by minute and day by day?'" "I think that's what you saw at the time, people were making that effort to celebrate and it was helpful. The idea of the song was to capture that thing. I wanted it to really feel like home. It's a throwback to Rosalita almost, and I wanted the band to feel the way people remembered that it felt at a certain time and I was singing a certain way. It comes up about three-quarters of the way through the record, right after The Fuse, which is really sonically different for us, and all of a sudden people would feel like, hey that's your own pals putting their arms around you and you've got a place to go and somebody to talk to and be with." THE RISING "I got down toward the end of the record and I think I was searching for the voice of someone who died, and I wanted to have a voice that addresses the living. So I just sort of imagined the main character basically...I dunno, speaking to his wife. Who would you want to speak to? Your wife, and you'd think of your children. And then just those left at large, I think. The different verses move slowly towards that kind of crossing-over point. The Rising - that was it, that was the moment when the souls rise." "In the beginning, the first verse is kind of disorientation and 'Where am I'? It starts 'Can't see nothing in front of me, can't see nothing coming up behind... All I can feel is the chain that binds me' - the links with whatever you might wanna call it - duty, love, camradeship, the fear - that keep people going. The song moves on. The second verse is just where the person came from, 'Left the house this morning... wearin' the cross of my calling'. Well, that's just 'this is your job', y'know? It is the same one you've worn every day and today these are its responsibilities and this is what it's asking. The bridge of the song is a moment when I think the singer relises that his mortality is at hand, and then in the last verse I imagine him speaking to his wife or a religious vision of some sort. 'See Mary in the garden...' It seemed tome that's one of the things you'd be thinking about, and the desire for a return to a physical intimacy - 'Feel your arms around me' - the physical self. The fear of losing that physical self. 'May I fell your blood mix with mine', the desire to sustain the physical intimacy. Then, 'A dream of life comes to me like a catfish dancin' on the end of my line'. That was a funny line - the catfish line popped out of my head, 'cos I fish out here once in a while and there's that moment when bing!, y'know, you're suspended between life and death, incredible life and a moment of death, and really I think the rest of the song turns into this mantra, 'Sky of blackness and sorrow, sky of love'. It's sort of the yin-yang of just what is. 'Sky of mercy, sky of fear, sky of memory, sky of emptiness, sky of fullness'. I think it's the awareness of what is about to be lost, 'A dreamof life, dream of life, dream of life' - repeat othat over and over again. Just the magnitude of what you're leaving behind, what you're giving up and a last chance to speak to people that matter to you. So that came up towards the end of the record. It was kind of a curtain on the whole thing. I think a lot of the other songs were moving towards that direction." PARADISE "That transition point between life and death. When I wrote 'Paradise' I was looking for something kind of really quiet, and I think it was the week there'd been the teenage girl suicide bombers. It was devastating, and so the first verse came out of thinking about that, the loss of life and the false paradise. Then I'd met a woman who had lost her husband at the Pentagon, and she came to Asbury one night, and they were just long time fans I guess. I think I was thinking of that woman when I wrote the song, which is why it switches from Virginia, because I wanted something that was outside the United States, the larger feeling of the effect of what's going on in the world outside the States. Again, I thought, 'What do you miss?' You miss the physicalness and the ability to touch somebody." "And the last verse is a survivor's verse, where I think your desire to join the people you've lost is very strong. You have the situation where the person goes to that river, it's the river of transition between life and death and they wade into it and they take themselves underneath. Somewhere in that nether world they see the person and it kinda comes up with that last line - they're searching for the peacefulness that people feel comes with death and passing on, or with an imagined version of paradise that you'll attain, and they get close enough and they just see emptiness. There's a lot of different ways people could interpret it. I always felt it was, 'HEY, LIFE IS HERE. iT'S ALL YOU HAVE AND IT'S HERE AND NOW'. In the last couple of liness the person swims to the surface and feels the sun. That was my last song of the record." [text/html attachment deleted] ------------------------------ Date: 01 Nov 2002 10:03 GMT From: Mannherz@t-online.de (Uwe Mannherz) Subject: more concerts in Europe 2003 Hi all, some more concert dates (all sales start Nov 2): May 6, 2003 Rotterdam May 10, 2003 Gelsenkirchen-Schalke May 22, 2003 Ludwigshafen June 26, 2003 Vienna Good luck! Since the arenas are bigger than last time, it should be possible to get tickets for everyone REALLY interested. Uwe. ------------------------------ Date: Wed, 30 Oct 2002 21:20:17 -0600 From: "Kevin Kinder" Subject: FW: CLARENCE CLEMONS TEMPLE OF SOUL TO BE RELEASED ON 11/5/02 Press release about Clarence's new album recorded Live in Asbury Park: Click this link to visit the ecard and hear the music. http://valley-entertainment.com/ecard/clarence_clemons/CCecard.html - ----------------------------------------------------------- CLARENCE CLEMONS TEMPLE OF SOUL LIVE IN ASBURY PARK TO BE RELEASED ON VALLEY ENTERTAINMENT ON NOVEMBER 5, 2002 New York, NY - Clarence Clemons Temple of Soul - LIVE IN ASBURY PARK, the eagerly awaited release by Clarence Clemons and his band will be released by Valley Entertainment on November 5, 2002. Clemons is undoubtedly the only living saxophone player whose solos can be instantly identified by millions of rock fans. Clarence Clemons Temple of Soul - LIVE IN ASBURY PARK is a rollicking party album recorded live at the celebrated Stone Pony in Asbury Park, NJ. Jazz, Latin, Soul and good old fashioned Rock 'n Roll all give flavor to the album of primarily Clemons' originals. Three of the tracks were penned by Springsteen. Billy Livesay's Heat of a Full Moon rides a blues groove with his impassioned vocals and sultry saxophone solos while One Step Two Step is a straight ahead foot tappin' rock piece with fiery violin solos by the classically trained Randi Fishenfeld. CC Angel is an adrenaline-pumping powerhouse with driving piano leads that set the stage for Mr. Clemons to testify. Supporting Clarence's vocals, sax and percussion is his twelve-piece band of guitar, bass, violin, double keyboards, four horns and even more percussion. Grammy Award winning Composer, Producer and former Music Director of ESPN, John Colby, adds his piano expertise, while Keith Cronin drums out the beats and Tomas Diaz lays out his accents on various percussive instruments and Billy Livesay, Steve Argy and Paul Pettit add fuel to the fire on the guitar, bass, and keyboards respectively. Clarence Clemons Temple of Soul is referred to as "a metro-rock unit that is a celebration in the church of what's happening now!" by the Big Man himself. One of the most well respected musicians in the pop/rock realm, Clemons boasts a career that has spanned over 3 decades. Famed saxophone player from the E Street Band, which some have deemed the greatest rock and roll band in the world, he played for nearly 30 years alongside "The Boss", lending his signature saxophone riffs to such classic hits as "Born to Run," "Jungleland" and "Tenth Avenue Freeze-Out." Clarence Clemons and The Red Bank Rockers had their first release in 1983 with Rescue and The Chief followed two years later. His most popular and best selling album, Hero, featured the hit single "You're a Friend of Mine" where he shared the lead vocals with Jackson Browne. Subsequent releases include, A Night with Mr. C and Peacemaker, released in 1989 and 1993 respectively. In addition to his solo work and his work with the E Street Band, Mr. Clemons has contributed to the musical efforts of Aretha Franklin (solo on "Freeway of Love"), Todd Rundgren, Joe Cocker, Ian Hunter, Gary U.S. Bonds, Janis Ian, Roy Orbison, Joan Armatrading and Ringo Starr's All Star Band. Not limited to one artistic medium, Clemons' possesses an impressive acting resume having appeared in hit CBS Series' "Nash Bridges", and "That's Life" and UPN's "The Sentinal" and "The Viper". He has had feature roles in films such as "Fatal Instinct", "Bill and Ted's Excellent Adventure", "Swing" and "New York, New York" as well as "Blues Brothers 2000". With Clarence Clemons Temple of Soul - LIVE IN ASBURY PARK he brings together his vast musical experiences in gospel, rock 'n' roll and Latin music and delivers an invitation to experience the soundtrack of the greatest party you've ever attended! ##### ------------------------------ Date: Thu, 31 Oct 2002 20:08:21 EST From: NJBOB113@aol.com Subject: Light Of Day schedule concerts east presents THE 3RD ANNUAL LIGHT OF DAY CONCERT TO BENEFIT THE PARKINSON'S DISEASE FOUNDATION* AT THE TRADEWINDS 1331 OCEAN AVENUE SEA BRIGHT, NEW JERSEY 732-842-7300 SATURDAY, NOVEMBER 2, 2002 ON THE MAIN STAGE 6:20 -6:45 DANNY WHITE BAND 7:10 -7:35 BOCCIGALUPE & THE BAD BOYS 8:00 -8:25 JOE D'URSO & STONE CARAVAN 8:50 - 9:15 JOE BONANNO & THE GODSONS OF SOUL 9:40 - 10:05 HIGHWAY 9 10:30 - 11:10 LA BAMBA & THE HUBCAPS 11:35 -12:05 GARY US BONDS & THE ROAD ROCKERS 12:30 - 1:45 JOE GRUSHECKY & THE HOUSEROCKERS 12:45 - 1:10 GARLAND JEFFREYS W/HOUSEROCKERS ON THE ACOUSTIC STAGE 6:00 -6:20 DAVE HAYWOOD 6:50 - 7:10 JASON SHAIN 7:40 - 8:10 MIKE WURTELE 8:30 - 8:50 BOBBY STRANGE 9:20 - 9:40 ROB DYE 10:10 - 10:30 MIMI CROSS 11:15 - 11:35 BRUCE TUNKEL & CHARLIE MCINTOSH 12:05 - 12:25 JOE D'URSO DOORS OPEN AT 6 PM TICKETS ARE $30 IN ADVANCE FOR GENERAL ADMISSION, TICKETS ARE ON SALE NOW AT TICKETMASTER, ICHABOD'S IN SEA BRIGHT AND AT THE TRADEWINDS BOX OFFICE NET PROCEEDS WILL BENEFIT THE PARKINSON'S DISEASE FOUNDATION * A PORTION OF THE PROCEEDS WILL BE DONATED TO PROJECT ALS THE FIRST TWO LIGHT OF DAY CONCERTS ALLOWED US TO DONATE OVER $70,000 TO THE PARKINSON'S DISEASE FOUNDATION FOR MORE INFO ON THE PARKINSON'S DISEASE FOUNDATION CHECK OUT: www.pdf.org FOR MORE INFO ON PROJECT A.L.S. CHECK OUT: www.projectals.org DON'T FORGET THE LIGHT OF DAY RAFFLE!!!!!!!! PRIZES INCLUDE: FUJIPIX A200 DIGITAL CAMERA FROM J&R MUSIC WORLD LUNCH/GOLF FOR FOUR AT THE BATTLEGROUND COUNTRY CLUB 2 FRONT ROW NY RANGERS TICKETS FROM CABLEVISION 2 PITTSBURGH PENGUIN TICKETS 2 PHILADELPHIA FLYERS TICKETS 4 DISNEY ON ICE TICKETS FROM CABLEVISION 2 TICKETS TO TWYLA THARP'S MOVIN' OUT FROM MONMOUTH ENTERTAINMENT 2 COUNTING CROWS TICKETS FROM CONCERTS EAST 2 WALLFLOWERS TICKETS FROM CONCERTS EAST STONE PONY PONY GIFT BASKET W/TICKETS AND MERCHANDISE DIAMOND HEART ON CHAIN FROM PEACHTREE JEWELERS STEEV19 GIFT CERTIFICATE DOGGIE GOODY BASKET FROM GROOMINGDALE'S 3 MONTH MEMBERSHIP TO DUNPHY FITNESS CENTER, EATONTOWN TOOTH WHITENING TREATMENT FROM DR. STEVEN YAREMCZAK NUTRITION FIRST CONSULTATION GIFT FROM THE GOLDTINKER BOTTLE OF FINE WINE 2 SIGNED COPES OF THE ROCK 'N ROLL TOUR OF THE JERSEY SHORE JIVE RECORDS CD PACK COLUMBIA RECORDS CD PACK 2 YR SUBSCRIPTION TO BACKSTREETS MAGAZINE 2 1 YR SUBSCRIPTIONS TO ANIMAL FAIR MAGAZINE AND MORE [text/html attachment deleted] ------------------------------ Date: Tue, 29 Oct 2002 23:06:52 -0600 From: "Sarah M. Schiller" Subject: The Rising & processing grief When I first listened to the new album, I was blown away by the heartbreak and pain....but also uplifted by the joy & energy, and the human capacity to endure and even to find joy again after tragedy and despair. Then October hit me. Five people near and dear to me have died unexpectedly in the past 2 weeks. Two were former professors (including Paul Wellstone, courageous Senator from Minnesota), two were friends from my small town in Wisconsin who were about my age (40s)....one of a heart attack, the other in that awful fog-related traffic accident you probably read about, and one was my sister's college roommate, age 42. I've listened to The Rising about 3 times per day since Oct. 15. Every time, I am brought to intense tears by You're Missing....the imagery of ordinary life completely sundered by the sudden death of your partner is astoundingly moving. Sometimes I've listened to that song 5-6 times in a row, until I'm done crying. But then I listen to the rest of the album, and I find that even though every single song is about 'how do you live broken-hearted,' most of the songs are indeed about how you live. That's what we do as survivors, we go on, we endure; somehow, despite the suffering and the hurt we continue. And eventually, things become OK again. Different and diminished, perhaps, but OK. Most of us can even find joy again, despite terrible heartache. So to me, this album is in the end a tribute to the strength and resiliency of the human spirit. The music has helped me immensely to come to terms with this awful series of losses, because I realize that my experience is universal, and that every day we have on this earth with our loved ones is a gift. I'm very grateful for the power of music and the church of Bruce for making this message so clear. ------------------------------ Date: Thu, 31 Oct 2002 21:00:47 +0000 From: "Russ Farmer" Subject: Concerts in 2003 Greetings, If Bruce and the band are to play 50,000+ capacity venues next year, my question is why? Although The Rising sold well, I do not think he needs to "do" stadiums to connect with the majority of fans. He does not have another BitUSA sales monster on his hands. I have seem Bruce many times over the past 20 years, but only twice, thankfully, in stadiums (BitUSA, TOL tours). No matter how great Bruce and the band are, no matter how great the music (and they both are immaculate), concerts lose so much in big venues. After seeing 4 of the 7 European concerts, I was looking forward to next year with glee.If all we have are stadium shows I think it matters significantly less. Considering Bruce cares so much about his "product", it will be extremely disappointing if all venues are stadium size. The cynic in me would suggest that the real criteria for selecting such venues is a desire for euros and pounds. Or am I missing something? Regards, Russ Farmer ------------------------------ Date: Wed, 30 Oct 2002 03:03:39 +0000 From: "David Sipple" Subject: Bruce and Stadiums Fellow Ltd'ers, I sure hope Bruce and his management team are not thinking of playing in stadiums in the USA... First and foremost, stadium shows are not much fun. The seats are often miles away, you end up watching the Jumbo-tron screens, the sound usually is not very good, and its a pain in the a$$ to have to go to a show that 60,000 other people are trying to go to. This question comes to mind, except for certain markets like NY/NJ , Boston, perhaps L.A. can Bruce and the E St Band sell enough tickets to make a stadium show work ? Its not like selling out 3 or 4 nights in the same city in a 18,000 seat arena - where many fans attend multiple shows. I hope others share this opinion, and might make it known in this and other forums... We can only hope for arena shows - or even the smaller theatre shows that were rumored about... NO Stadiums please.. David Avon Lake, OH _________________________________________________________________ Surf the Web without missing calls!Get MSN Broadband. http://resourcecenter.msn.com/access/plans/freeactivation.asp ------------------------------ Date: Wed, 30 Oct 2002 15:30:35 -0500 From: "Myers, Wes" Subject: RE:Youngest fan My wife was 5 months pregnant when we saw Bruce at Penn State on Feb 28, 2000. Adam is now 2. While I love the Live in NYC DVD I never would've watched it so often if he didn't keep requesting it. It's right up there with Barney and The Bear in the Big Blue House. Last Christmas I bought him a small acoustic guitar. He loves playing it (making noise) while watching Bruce. He also says, "The Big Man" whenever he hears a sax solo, not just while watching the DVD but also just listening. The best thing happened about a week ago at my mom's house. She was playing a CD with American themed songs that included LOHAD. Adam didn't say anything during the other songs but said, "Bruce!" when the opening chords of LOHAD were played. I was floored. ------------------------------ Date: Tue, 29 Oct 2002 13:29:11 +0200 From: "Matthew Rodinos (@ Synergy Investments)" Subject: London Wembley Show: [or as Jerry Lee Lewis said: "Too much love will drive a man insane!"] Hello folks! Well, just got back from London trip to see Bruce at Wembley, and although we are all really doing it to death via the Net on this tour, I thought I would write up these scattered impressions from the show for anyone who did not have the benefit of being there. So here goes: - -Bruce and the gang were in great form, despite the lousy weather (worst storm since mid-80's in London the day before--7 dead!). - -Surprises included "Does this Bus Stop at 82nd Street," Jackson Cage, Night and Incident(!!!!). Bruce said that Jackson Cage and Incident were requests (Jackson Cage specifically for someone in the front "for following us around.") Song details follow: - -The third song, No Surrender, catapulted the show into overdrive. Best, most rocking version I have ever seen. - -Badlands blew the roof off Wembley Arena, as usual, with multiple restarts--a newbie sitting near me was condescendingly shaking his head during the 1st re-start, but by the time it was over, was laughing at the crowd's O-O-Oh-Oh-Oh chanting, and grudgingly joining in! - -The Fuse had many in the crowd singing the echoed lyrics, OK version. - -Bus Stop rocked like a shuffle, and Bruce did a good job of pretending not to ready the lyrics.....there WAS a teleprompter under the floor, right? - -Jackson Cage and Night started at overdrive and built from there, with Bruce practicing his best snarling vocals. - -During intro to the slow ballads (Empty Sky, Missing), some joker yelled out "Bruce, I LOVE you," or something like that, to which Bruce thought a bit, and then retorted with some vintage Jerry Lee Lewis, from Great Balls of Fire: "Too much love will drive a man insane," and then launched into the ballads. [Shades of the "Bruce, I fooooking luv ya" guy from the GoTJ tour--same guy????] - -She's the One had the floor shaking where we were sitting, and I was happy because I had never seen this live before. Even though this version was not as smoking as the Barcelona version, for Bruce of course this just means that it's twice the intensity of any other musician around. - -BEAUTIFUL version of the River, with Bruce on solo guitar and Soozie adding rich violin bow swells as accompaniment--the crowd, despite singing along, really seemed to like this version. I would say better than '99 jazzy version, even. - -Incident.......what can I say? I have been dreaming of hearing this live for years.....Bruce solo at the piano, great, great version, and I say that even though I love the recent holiday shows solo version a LOT. At the end, Bruce added in some keyboard flourishes far removed from his normal functional piano- playing style. A true highlight! - -During the Mary's Place intros, Bruce referred to Clarence as "probably the next King of England!," to Roy as "10 fingers than know no mercy" and to Steve as the "only man that can go anywhere in the world in his pajamas!" I wonder if the band ever knows just what he's gonna say beforehand? It did look like they were cracking up there for a while, though. - -BitUSA--hadn't heard those gut-permeating bass drones since the 1985 stadium tour. Whether you prefer this version or not, hard not to understand its raw power!! - -After Thunder Road closed out the show, the crowd hit the tube (subway), ans since there was along line, someone started a chant, "We're waiting, waiting for the train to come....." (and trust me, it was NOT a sunny day...) Assorted other notes: - -Nils was used more than in the US leg, with focused solos, both slide and regular electric guitar. - -Crowd was great, even though those who went to Barcelona/Bologna/Stockholm claim there was no comparison to THAT madness. My friends and I had a great time dancing and singing our throats raw, along with everyone else, in Section 27, about 2/3 of the way back (hello Hazy Davie & Mission Man! Great meeting you!). And during many songs when I looked around at the crowd, even the last rows all the way around were on their feet doing the same. My fears re a non-responsive UK audience were happily allayed. - -Two high-resolution mid-size video screens did a good job capturing specific moments, but certainly NO comparison to the great live editing job done with the Barcelona broadcast. - -The sound where we sat was mediocre, rare feedback bursts, good vocal and sax intelligibility, but only shone on the ballads and acoustic, less-busy songs. The arena syndrome of muddy bass was very apparent here, unfortunately. Finally, if you've made it this far, let me just add that on Saturday, the night before the Bruce show, I saw Dan Bern live at a small club in Soho (thanks George!)- go see this guy for some intelligent, witty music!! A cross between Dylan, Violent Femmes and Jonathan Richman. The man will not let you down-- his live show is much better than his CD output would lead you to believe. And check out his song 'Marilyn'---can't get it out of my head--eminently hummable. Good to share this with you, See y'all again in the spring for our next dose of Bruce juice! Matthew Rodinos Nicosia, Cyprus It's midnight in Manhattan, this is no time to get cute........... ------------------------------ End of LuckyTown Digest V9 #101 ******************************* ********************************************************************* ** LuckyTown WWW URL ** The LuckyTown FAQ, back issues, web-based subscription/unsubscription, and many other things can be found on the LuckyTown WWW Page: http://www.luckytown.org ** LuckyTown mailing list addresses ** You can send email to go into the next LuckyTown Digest to: luckytown@luckytown.org You can send email to go into the next LuckyTown-Ads Digest to: luckytown-ads@luckytown.org Any questions for the list admin should be emailed to: owner-luckytown@luckytown.org To unsubscribe, send email to majordomo@luckytown.org with message body: unsubscribe luckytown-digest To get further information on how to subscribe/unsubscribe/change your subscription address, as well as the other available commands, send email to majordomo@luckytown.org with message body: help ********************************************************************* The contents of this digest are not necessarily approved by the list admin.