News Updated October 15, 2019

Promoting Western Stars in the West End, chatting with Graham Norton, dining with De Niro, revealing future E Street touring plans

The last few days have been memorable ones for Springsteen aficionados in London, particularly those who got lucky in the ticket lottery for his debut U.K. chat show appearance on BBC1's The Graham Norton Show or scored tickets for the European premiere of his Western Stars movie during the annual British Film Institute (BFI) London Film Festival.

Having spent some time in Italy, Springsteen flew in for four days of press and promotion work at a variety of locations in the capital. For those who attended either of the above events, it was a rare opportunity to see him in person in comparatively intimate surroundings, talking in detail about his forthcoming new film project.

Springsteen's first port of call was at Television Centre in White City, West London on Thursday, October 10, for the TV recording, which was subsequently edited and broadcast at 10:35pm the following night. It was then repeated at 11:55pm on Monday, October 14, and made available for one month on the BBC's iPlayer in the U.K.

A Friday night fixture for many years, The Graham Norton Show is the U.K.'s premier chat show. Unapologetically located at the lighter end of the entertainment spectrum, with occasional risqué overtones, the show crams as many celebrities as possible into its weekly slot. Around 600 free tickets are available online for each recording, which are randomly allocated. However, last Thursday evening, due to the high number of VIP guests, only half of that number was given to the general public. Many people were turned away while Norton's guests arrived in a fleet of cars with tinted windows.

Norton's modus operandi requires all of his guests to occupy his famous red sofa at the same time, but others will occasionally join the conversation later on — this was the case with Springsteen's appearance. Once Norton had spoken to Robert De Niro about The Irishman, Sienna Miller about American Woman, and Paul Rudd about Living With Myself, Springsteen didn't make his entrance until 28 minutes into the 50-minute broadcast version of the show.

Dressed all in black, he appeared relaxed and comfortable in what were unfamiliar surroundings for him. Sitting next to De Niro, Bruce recalled that they first met in 1975. "I love Bobby," he said as they hugged. It was later noted that they'd received the Presidential Medal of Freedom and attended the Kennedy Center Honors together.

Norton began by asking Springsteen about Western Stars, which its co-director described as "a meditation on men and women and love." Knowing that he wasn't going to tour the album, he explained that the next best thing was to release a concert film, which he augmented with additional material to help explain the new songs to his audience.

Springsteen said that he wrote his voiceovers in a two-hour session in front of the TV one night and later composed a musical score to accompany them. Having shown a trailer, Norton declared, "You're brilliant at this."

Some grainy honeymoon clips are featured, which Springsteen apparently "stumbled across" in the search for appropriate archive footage. He and Patti put a camera on the hood of their car "and did our little shtick."

When asked the location of the barn where the live performance takes place, Bruce replied that "it's on my property in the great state of New Jersey," which elicited a loud cheer from the lively audience. "You've never been there, I assume," he laughed. Springsteen concluded by suggesting that Western Stars defies categorization. "It's not like any other picture. There's not a genre for it."

From there, the subject matter predictably moved into familiar territory, including the regular habit of Springsteen's audiences to chant his name and sound like they're booing him. "You can tell the difference," he replied. Next up was the topic of his marathon concerts, with Norton stating that "four hours is not uncommon." "I do it, but I don't like to," Springsteen admitted. "I shoot for three, and we sometimes go a little bit longer. Those are the only four hours that I actually get to be Boss."

Norton addressed Springsteen's working-man image and attire. "I always wanted the gold lame suit, but it never worked for me," he revealed. "I look ridiculous when I get really dressed up." Asked if he practiced his stage moves, he said, "Any frontman worth his salt stood in front of a mirror at some point with a broom or a tennis racket moving to 45s. That was a big part of my studies."

Springsteen's failed attempt to meet Elvis Presley by climbing over the wall at Graceland in 1976 was next on the agenda. "I don't like to do this," Bruce admitted, but he asked the security guard to tell Elvis that "Bruce Springsteen was here and I was on the covers of Time and Newsweek. For you young folks, they were magazines! That's as close as I ever got to Elvis Presley."

Regarding his difficult relationship with his father and whether he ever understood the significance of his son's success, he replied, "Once the money's comin' in, it breeds respect — and it bred some respect from him."

The show ended with a live performance by James Blunt, who joined the others on the sofa and talked about his disastrous attempts at crowdsurfing. "The trick is, they're supposed to catch you," said Springsteen, a master of the art.

After the recording, the guests posed for group photos while the audience was still present. Springsteen, De Niro and Miller were later spotted having dinner at J Sheekey, an exclusive seafood restaurant in Covent Garden (and at another meal over the weekend, Springsteen and De Niro were reportedly joined by Al Pacino and Martin Scorsese).

While it was fascinating to see Springsteen on the show, attendees have estimated that "approximately half" of his interview ended up on the cutting room floor. The missing material includes stories about the hype surrounding his Hammersmith Odeon gigs in 1975, crashing gears while driving to California before he had a licence, performing cover versions onstage by audience request, and how they preferred his ass to his face on the Born in the U.S.A. album cover.

Springsteen also plugged his wife Patti Scialfa's three solo albums and recalled when her answering his advert in the Asbury Park Press for a singer, at the age of 17 in the early '70s. He advised her to go back to school and finish her studies. Many years later, before their relationship became public, he revealed that they used to meet on a bench in Manhattan to talk, drink bottles of beer in brown paper bags, and carve their initials in the wood. He proposed to Patti on the bench, and they later took their son Evan there. Springsteen eventually tried to buy it as an anniversary gift, but the bench had been removed.

Finally, for anyone thirsting for news of his future plans, Springsteen confirmed that he would be recording with the E Street Band next month and that there would be shows next year. At which point someone in the audience cheered, and Bruce said, "That's one ticket sold!"

The Western Stars movie premiere took place at 9pm on Friday, October 11, at the 800-seat Embankment Garden Cinema. The theatre is a temporary, state-of-the-art facility in Embankment Gardens, beside the River Thames at Charing Cross, that only exists for the duration of the two-week annual festival. Tickets to this sold-out event were initially made available online to BFI members only, and then to the general public on September 12. A batch of industry returns were snapped up on September 26, and a handful more were sold on the night.

Springsteen, Thom Zimny, George Travis, Jon Landau, and Barbara Carr arrived around 45 minutes before the start, shortly after a heavy downpour had tested the resilience of the comparatively small fan contingent (almost outnumbered by press photographers) who'd been patiently waiting outside, huddled under their umbrellas. Before heading for the warmth and comfort of the cinema, Springsteen (again wearing black, with a white shirt) spent several minutes working his way down the red carpet, signing whatever was thrust in front of him, while cellphones and cameras captured his every move.

As ticketholders and guests (including Gurinder Chadha, director of Blinded By the Light) made their way to their seats, they passed a sign informing them that the film would be followed by a Q&A session with Springsteen and Zimny, and that this was being filmed for "Internet, broadcast, DVD, TV and music video."

Kicking off proceedings, the evening's MC spoke excitedly about the film before bringing Springsteen onstage to introduce it. "Welcome to Western Stars, I hope you enjoy our film," he began. After reminding the audience to stay in their seats after the credits had rolled, he added, "Should you be moved to applaud any individual performance, please don't do that. The film works as a meditation and a tone poem. If you like it, give it a shout at the end, thanks a lot."

Immediately after the film had ended, the MC brought Springsteen and Zimny onstage to a standing ovation from the crowd and began a 20-minute, in-depth conversation about Western Stars, which was a refreshing contrast to Graham Norton's more frivolous interview the previous night. However, he did reveal a surprising lack of research when he asked how difficult it was finding the right location for the concert. "It's just my barn," said Springsteen, to much laughter from the audience. "It's a rock star barn." He revealed that he'd considered filming the concert in a theatre but had opted for the barn's unique atmosphere.

Springsteen gave credit to musical director Rob Mathes for pulling the band and orchestra together. "Everything you see happened in four days," he revealed. This included rehearsals at SIR Studios in New York and two days of filming at the barn. George Travis and his production crew were also acknowledged for "gettin' all that shit up there" with the use of a crane. As for his credit as co-director, Springsteen explained that was down to "the graciousness of Thom Zimny," and that he just provided some ideas.

Photograph by Mike Saunders, October 11, 2019

Among the other subjects discussed were how the two men first came to work together, their collaborative process, the challenges they faced, the filming of the concert and the interstitial material, how they discovered the archive footage, the editing process, and the influence of Western geography on Springsteen's work.

When discussing his points of reference, Bruce cited John Ford's The Searchers as a touchstone. Describing John Wayne walking into the sunset alone, he'd wondered how it was possible to make the "human journey" from there to "love and family and faith and hope. The film is a meditation on those ideas. They were all contained on the record, but we got to make them explicit through the scriptwriting and the scoring. The film enhances the record to a great degree for my fans."

During the session, Springsteen revealed that he'd written in the region of 40 songs for the Western Stars album and gradually whittled them down to the final 13. He joked that they played "Rhinestone Cowboy" at the end because "this shit is too depressing," and they needed a more upbeat number. "It felt right at the end of the picture," he said. "It's a song I've always loved. I didn't think about it too much."

Photograph by Carole O'Callaghan, October 11, 2019

Zimny remembered that the "game changed" when he watched Springsteen record his voiceovers and between-song score, and the project developed from a straight concert film into something else entirely. When asked what they'd like audiences to take away from the movie, Zimny replied that he hoped they would enjoy "the journey that Bruce takes us on," while Springsteen added, "It's one of those pictures where people come in, they're sittin' at the end of the night, film's gettin' to its close, they're holdin' hands."

When asked if he saw himself returning to the director's chair, Springsteen replied, "I don't think so. All these things I've been doing recently are one of a kind. I don't plan to be writing any more books; I don't know if I'll be doing any more plays or making any more movies. I will, however, be touring with the E Street Band. I can always depend on that." Having been cut from the Norton show, this was Springsteen's first public announcement of this information on his London visit, and it was met with a loud roar of approval.

Soon afterwards, the audience rose to their feet for a second time as Springsteen and Zimny left the stage. Western Stars was subsequently screened at the 800-seat Odeon Luxe cinema in Leicester Square (home of major film premieres throughout the year) on Saturday, October 12, and at the 450-seat Screen One at the nearby Empire Haymarket on Sunday, October 13. Both showings were virtually sold out, although some tickets were still available on the day.

Western Stars will go on general release in Odeon, Vue, and Cinemax cinemas around the U.K. on October 28 for one day only, and will be accompanied by a filmed Q&A with Springsteen and Zimny, although it's unclear at this stage whether this is from Toronto or London.

Springsteen spent Saturday and Sunday undertaking Western Stars promotion work at the Ham Yard Hotel in Soho, where he met several fans, including Badly Drawn Boy [right, via Twitter]. This included a media screening and subsequent Q&A session with Edith Bowman. He was also due to film an interview for later broadcast on Channel 7's Sunrise programme in Australia.

Ireland's Hot Press saw the film as a love letter to Patti Scialfa. "We've been together for a long time, so that's a lot of experience around the one little microphone. We bring all of that the minute we lean in. Oh my Lord, there's the whole 30 years of emotional life together between us. She's wonderful. If you dig deep down into the center of the film, she's there."

RTE published the following quote: "You're getting to that age where you're summing up a lot of what you've learned and what your life has been. Writing a book was the first chapter, then the Broadway play came out of the book, and in a funny way this film came out of the play. I've had a really good run over the past five years as far as feeling really inspired and being really creative. I've done things I've never done before. I'm a man of many talents. I'm going to be an astronaut next. I'll let you know how that goes."
- October 15, 2019 - Mike Saunders reporting - additional thanks to Dan French, Carole O'Callaghan, Linda Gilder, Jeremy Benson, Matt Allan, Helen Jones, Caz Messenger, and Magda McHugh

October's Archive release taps 10/23/99, a big night in Los Angeles
By the fall of 1999, Bruce Springsteen and the E Street Band's Reunion tour was in full swing. To start its third leg, the band regrouped for a concert in Phoenix before rolling into Los Angeles for four shows. That run served as the inaugural event at L.A.'s brand-new arena, Staples Center. Today's archive release features October 23, 1999, the stand's fourth and final night. It marks the last time to date that Springsteen played a show at Staples Center. More on that shortly.

The stand got off to a strong start, with standards ("The River") one night, alternates ("Point Blank") the next. The third show was seasoned with numbers from the Darkness on the Edge of Town era: outtake "Don't Look Back" and "Adam Raised a Cain" in the opening slots, and a stunning version of "Racing in the Street" later. Also notable: no songs from Born in the U.S.A. appeared. The show was a monster, so expectations were high for the final night.

Being Los Angeles, famous faces dotted the audience. Legend has it that actor Ed Norton, a well-known fan, had lobbied Bruce that summer to open with "Backstreets" (which he did for the first time, in New Jersey). On this night, according to a member of his party, he had seen Bruce backstage and made three song requests: "Incident on 57th Street," "For You," and "The Promise" — Bruce would grant them all.

From the first note, the October 23 show was a barn burner, opening revival-style with the "Meeting in the Town Tonight" intro into the rare River outtake "Take 'Em as They Come." Two more River songs followed, "The Ties That Bind" and "Two Hearts," before a powerful quartet of songs from Darkness on the Edge of Town.

Springsteen continued a thread he'd been on all week: how much he disliked the arena. On the first night, he singled out its multi-level sky-boxes ("too many of 'em, and they're too low," he said) and their bifurcating effect ("the idea is, you have to come out of your room to see a rock show"). Springsteen didn't like the water pressure in his dressing room, either, saying that if you were going to spend that much on an arena, you should at least be able to take a decent shower.

Down beneath the skyboxes, 10/23/99 - photograph by Marc Shapiro

And then there was the building's corporate name. "I've been searching for Mr. Staples," Springsteen said, looking in vain in history books for a Governor or Mayor Staples. "Finally somebody said, 'No… it's just a company... continuing in the trend of the corporate naming of public space… something you've got to get used to.'" Springsteen joked that the town could become Los Hooters. It's still called Los Angeles, but to this day, Springsteen has never booked another Staples show, choosing other venues on every subsequent visit.

But for his final night at Staples, what a performance: the band was on fire, and the show, already on track to be the best of the week, played out as one of the better ones of the entire Reunion tour. Following "Tenth Avenue Freeze-out," he launched into a gorgeous version of "Incident on 57th Street," only its second performance since 1980. Springsteen's solo at the end was sublime: Los Angeles crowds have a laid-back reputation, but the roar at the song's conclusion was anything but. People knew they had just witnessed something special.

It's been a long time: Springsteen at the piano for a solo "The Promise," 10/23/99 - photograph by Marc Shapiro

Another shock (for those who hadn't made the request) came when Bruce sat down at the piano and said he was "going to try something [he] hadn't done in a long time" — "The Promise." Played at an Asbury Park rehearsal show in March, here the song filled a cavernous arena for the first time that year. It worked perfectly, and the tape captures the emotion of the moment. "Backstreets" and "Light of Day" concluded the main set, the latter including a couple verses of The Rivieras' surf classic "California Sun."

And it wasn't over. A storming version of "Ramrod" kicked off an encore that went through the Reunion tour staples before closing with "one more for L.A.," a rollicking "Blinded By the Light" Only its second outing with the E Street Band since 1976, "Blinded" put a cap on a truly unique setlist. And for the second straight night, no song from Born in the U.S.A. appeared, making these the only back-to-back shows since before 1984 with no songs off that record.

Collectors know this show through several iterations. These include Crystal Cat's Los Angeles Night (an audience recording); a wireless recording (which featured some instruments, but lacked others); and the matrix versions that combined the better elements of both (which circulated as Searching for Mr. Staples and Prodigal Son in the City of Angels). These have long been considered to be amongst the best such documents of the era.

However, even the best wireless/audience mixes will never compare to releases sourced from multi-track tapes and mixed by a professional. This release is Exhibit A in that argument: every instrument is where it needs to be, whether Clarence's sax blasting out of one channel or Little Steven's guitar from the other, or just the right amount of Mr. Tallent's bass all around. As usual, Jon Altschiller's mix jumps right out of the speakers.

Yeah, we've got that. 10/23/99 - photograph by Marc Shapiro

Nearly a third of the show's setlist wasn't included in previous Reunion tour releases: New York City (July 1, 2000) and Chicago (September 30, 1999). Four songs were significant rarities: "Incident" and "The Promise" (both performed just four times on the tour); "Blinded" (five times); and "For You" (six). "Take 'Em as They Come" was actually performed more frequently in the Reunion era (eight times), and it gets a second archive nod here (the outtake led the Chicago recording, too).

That's a lot of infrequently-played songs for one night, but all that said, the joy of this show isn't in the statistics, but in the performance. Wait 'til you hear it. If Springsteen couldn't find a Mr. Staples, at least this show lived up to the company's slogan at the time: "Yeah, we've got that." And then some.

Also read: Erik Flannigan's latest blog entry, "A Meeting in the Town Tonight"

- October 11, 2019 - Hal Schwartz and Flynn McLean reporting - Episode 2 of their podcast ("for the true Springsteen aficionado"), taking a close look at the Springsteen Archive Series, is out now at

Director Thom Zimny talks to Backstreets about the Fathom bonus film

Between upcoming film festivals, special preview events, and the film's wide opening on October 25, Springsteen fans will have plenty of opportunities in the coming weeks to see Western Stars. Only two nights, however, will include extra material — a ten-minute bonus feature that Thom Zimny, who co-directed Western Stars with Springsteen, has put together for the Fathom Events screenings on October 19 and 23.

Speaking with Backstreets, Zimny calls the bonus feature a "fan piece," aimed squarely at the kind of Springsteen fan who reads Backstreets and wants to go deeper. Airing before the feature presentation at the Fathom screenings, the featurette goes behind the scenes, incorpoating outtakes from the film shoots, archival footage, new interviews, even an instrumental track from Springsteen's original score than wasn't used in the film itself.

"It was a great chance for us to expand on the narrative of the story," Zimny says, "and share something special for fans that will only be shown these two times."

Backstreets: Can you give us an overall sense of what we can expect to see?

Thom Zimny: Bruce and I wanted to share some of the things that we left behind from the film. So there are behind-the-scenes moments from the barn, and from the desert shoot as well. Moments of Bruce with the crew, showing you what the making of the film was like. There's a great series of interviews with Bruce and the band — Ron [Aniello], Rob [Mathes], Patti [Scialfa], Charlie [Giordano].... And there's also some archive footage that hasn't been seen: I was able to go into the vault and pull out a few things that I knew hadn't been used before — like some Darkness sessions footage I didn't use for the documentary on Darkness.

How do you incorporate the archival footage? When you're going back to other sessions, are you looking specifically for things that fit the Western Stars theme?

I went back into the vault to find some things that demonstrate the ideas that Bruce was discussing in the interview. He talked about his creative process of working with the strings, so I went in and found a clip of of him playing in Rome with an orchestra, and shots of him in the studio during Born to Run. I really tried to keep it to things that were not used before in the other docs, like The Promise or Wings for Wheels.

This is sort of a documentary about a documentary. How did you think about it differently — in other words, why would something have appeared here that didn't appear in the film?

Well, the short film is telling a different story — it's much more the background of the making of Western Stars, the process that Bruce had in the studio. Whereas the film itself is much more of the point of view of Bruce, his writing, and the themes that he discusses in each song. As a behind-the-scenes piece, the short film is more about giving you an understanding of the process that Bruce took in recording both the live concert as well the album itself.

Zimny, left, with regular collaborator Joe DeSalvo, Director of Photography on Western Stars as well as Springsteen on Broadway and Hunter of Invisible Game

I was assuming this was going to be mainly about the making of the Western Stars film, rather than the album, but you're saying it's both.

It's about the film and the album, right, the making of both. And what's great about it is that you hear Bruce talking about the recording of the album in a way that has not been covered — because he didn't do any press around the release of the Western Stars album.

He digs in deep and explains his connections to some of the imagery, the influences of the West, and his writing style. But also he talks about his collaboration with Ron and Rob — how he would bring something into the studio and how he would sketch it out — that process of recording this album is discussed in the film. And again, since Bruce did no press for this album, this is the first time, really, that he breaks down his creative process for Western Stars.

Bruce talking about the recording, that's essentially in interview with you for the camera?

Right, I interviewed him and the band on set while making the film. We did it all the setting of the barn. I mentioned Charlie, Rob Mathes, Ron... Marc Muller, too. And by having the band participate, along with the "making of" shots, it really gives fans a chance to see something that is not revealed in the feature film. What you end up getting with the bonus film is a different understanding: how Bruce worked with Rob Mathes [in addition to conducting and arranging strings for the album, Mathes plays keyboards in the barn performance], how the players responded to performing this music live, and what it was like to do it in the barn.

So you've got footage from the barn, from the desert, archival studio material... what else is in there?

There's TIFF film too, from when we premiered the film in Toronto. The great thing about the TIFF footage is that it shows the excitement of the event itself, the fans, and Bruce arriving on the red carpet. There was a great energy there — something I'll never forget. Premiering the film at that festival was a high point for us, and it's great to have it captured in this short film. Having that be part of the structure of the film also helps tell a story, of bringing Western Stars to the screen. It also gave me a chance to incorporate some of the Q&A that we did in Toronto.

I saw the pro-shot footage of the Q&A with [Warner chairman] Toby Emmerich online; our reporter in Toronto had been raving about the other TIFF Q&A — any chance we'll see any of that?

Yes — the Q&A that hasn't been posted, with [TIFF documentary programmer] Thom Powers, we were able to use some of that here. So in addition to a sense of the excitement of Toronto, you also get a whole series of other questions that weren't covered in the Q&A with Toby Emmerich.

One thing I really like about the short film is the opportunity to spend some time with Bruce talking about his cinematic influences, and how they influence not only the music and the sonic landscape of the movie, but also the visuals. That's something he talked about onstage in Toronto, but seeing it here with visual references is a completely different thing.

Ten minutes doesn't sound like a long time, but this packs in a lot.

Yeah, Bruce and I were just really excited about the opportunity to dig back into the vault and find some things that haven't been seen in the past. And more importantly to show some of the scenes of us making this film — this rare opportunity to see Bruce in the desert working out the scenes, directing with me, and also the sense of the atmosphere of what it was like shooting in the barn. And that's fun to see, because it really does pull back the curtain on the Western Stars movie and give you a sense of what was it like to be there.

Get tickets now for the October 19 and 23 Fathom Events screenings of Western Stars, the only opportunity to see Zimny's bonus film.

- October 10, 2019 - Christopher Phillips reporting - photographs courtesy of Thom Zimny

Springsteen rides to London this week for Graham Norton Show and BFI London Film Festival, speaks with The Telegraph in advance

Following last month's Toronto premiere of Western Stars and prior to the Fathom Events preview screenings, Bruce Springsteen and Thom Zimny's new film will make a few more stops on the festival circuit.

Next week, Western Stars will have its U.S. Premiere at the Hamptons International Film Festival. The documentary will play there on Sunday evening, October 13, and again on Monday, October 14.

This week, those stars are shining on London. Western Stars will make its U.K. Premiere at the BFI London Film Festival, opening on Friday, October 11, at Embarkment Garden Cinema and playing again on Saturday, October 12 (Odeon Luxe Leicester Square) and Sunday, October 13 (Empire Haymarket). According to the festival website, both Springsteen and Zimny are expected to attend.

While in town, Springsteen will appear on The Graham Norton Show. The episode tapes Thursday night and will air Friday night, October 11 (10:35pm, BBC One), Springsteen sharing the sofa with Robert De Niro and Paul Rudd.

In advance of these U.K. appearances, Springsteen has given his first print interview of the Western Stars era to the The Telegraph, speaking to Neil McCormick. In the interview, Springsteen speaks of the Western Stars film as a third act, following the Born to Run memoir and Springsteen on Broadway: "The film is sort of the completion of that little trilogy, the tying up of philosophical threads that I’ve been working on my whole life, since I was a kid. Making the film allowed me to tell a story that I hadn’t directly told before, in a way I’ve never told it."

Read: "Bruce Springsteen interview: 'I've spent 35 years trying to let go of my destructive side'"

- October 7, 2019


Following the midnight release of "Sundown" audio from Western Stars: Music From the Film, we now have the accompanying clip from the movie, the complete live performance of the song with band, orchestra, and those lovely backing vocals.

To see the film in advance of its October 25 wide release, with bonus material Thom Zimny is adding for the occasion, be sure to check out the Fathom Events screenings, coming to 330 locations nationwide on October 19 and 23.

- October 4, 2019

Tone reunites for Oct 6 event, followed by Sarfraz Manzoor Oct 8

Barry Schneier's Bruce Springsteen: Rock and Roll Future, published earlier this year by Backstreets, captures a beloved though short-lived version of the E Street Band, when pianist David Sancious and drummer Ernest Carter were still in the fold. The two musicians left together in August 1974 to form the jazz trio Tone.

For Eileen Chapman, director of the Bruce Springsteen Archives at Monmouth University — who also wrote the Introduction for Rock and Roll Future — the book and its photographs also sparked an idea for a special event. This weekend, it's happening: Tone members Sancious, Carter, and bassist Gerald Carboy will reunite on stage at Monmouth U's Pollak Theatre for An Evening With Tone.

Springsteen and the E Street Band in soundcheck on May 9, 1974, featuring Sancious (foreground) and Carter (far right) - photograph by Barry Schneier, from the book Bruce Springsteen: Rock and Roll Future

In addition to Tone's performance — certainly of interest to jazzheads as well as E Street Band fans — a conversation with the band and author/photographer Schneier will cover those early E Street Band days and beyond, moderated by the evening's host, Grammy Museum executive director Bob Santelli. Copies of Rock and Roll Future will be available for signing afterward.

The event is free and open to the public, this Sunday, October 6, at 7pm. A couple days later, the Springsteen Archives at Monmouth University will also host "An Evening With Sarfraz Manzoor," author and screenwriter of Blinded By the Light, on October 8. For further information on both events, visit
- October 3, 2019

The Gift, featuring Bruce Springsteen, arrives on YouTube Nov. 11
It's been a busy year for filmmaker Thom Zimny — and we're not just gazing at Western Stars. In between Netflix's Springsteen on Broadway and the new film he co-directed with Bruce, coming to theaters later this month, Zimny put the finishing touches on a Johnny Cash documentary, in a way his follow-up to Elvis Presley: The Searcher. This fall brings us not just one but two new Zimny joints. 

The Gift: The Journey of Johnny Cash, directed by Zimny with support from the Estate of Johnny Cash, will premiere on Cash's official YouTube channel on Veterans Day, Monday, November 11. Taking the remarkable Folsom Prison recording as a central motif and featuring interviews with family and celebrated collaborators, the 90-minute documentary explores the artistic victories, the personal tragedies, the struggles with addiction, and the spiritual pursuits that colored Johnny Cash's life.

Thom Zimny at Cash Cabin - photograph by Rob DeMartin

Zimny tells Backstreets, "It was such a joy collaborating with the Cash Estate on this film. We were handed a trove of rare and never-before-seen material that made the process of making this film that much more captivating and satisfying."

As the filmmaker branches out in terms of his subjects, he doesn't hide his affinity for Bruce Springsteen, who turns up again here as he did in The Searcher. Cash's rendition of "Further On Up the Road" features prominently in The Gift, as does commentary from Springsteen, interviewed for the new doc among others including Jackson Browne and Emmylou Harris. For these modern-day interview segments, Zimny utilizes the same "heard-but-not-seen" technique he first employed in Elvis Presley: The Searcher. Zimny also reunites with Pearl Jam's Mike McCready, who composed and performed The Gift's original score, as he also did for The Searcher.

Watch the new trailer above, and you can also view a teaser clip focusing on Folsom Prison, both featuring comments from Bruce Springsteen.
- October 3, 2019 - Christopher Phillips and Shawn Poole reporting

R.I.P. Jessye Norman (1945 - 2019)

Attending an unusually large number of Bruce Springsteen performances, I've seen the occasional guest singer. But the duet I witnessed on April 12, 1995 at Carnegie Hall stands alone as the most unusual and unexpected.

That benefit show for the Rainforest Foundation was billed as a tribute to Elvis Presley. In a set that included "Viva Las Vegas," "Guitar Man," and "Jailhouse Rock," Springsteen played and sang with the evening's other headliners: Sting, Elton John, Billy Joel, James Taylor, and Jessye Norman. 

Wait. Jessye Norman? The opera singer? Yes, that Jessye Norman. The unforgettable highlight of the evening was a version of "O Sole Mio" that morphed into "It's Now or Never." Opera and Elvis.  Jessye and Bruce. It should have been weird, but it worked beautifully — and they both clearly enjoyed it as much as the audience. 

Around a dozen years later, I boarded a New York to Los Angeles flight and found myself sitting next to Jessye Norman. My usual policy is to ignore a celebrity, but within a few minutes she started talking to me and asked what I did for a living. I was working for a well-known rock singer at the time and told her. She knew his work and mentioned that she, too, was a singer. I told her I knew, and that I had seen her perform.

She asked if I was an opera fan, or perhaps I had seen her on television at the opening of the 1996 Olympics? I told her that I saw her sing with Bruce Springsteen.

She erupted in laughter, flashing a broad smile. "Wasn't that fun?" she asked, as if it had happened the day before. She let me know that Bruce was very sweet. We chatted a bit more and spent most of the flight with our books and iPods. On the ground in Los Angeles she made a point of thanking me for making her day before saying goodbye and telling me to listen to some opera.

I was saddened when I read in the press that Jessye Norman had passed away on September 30. I can't say I knew her, but the two encounters I had with her — one from the audience at Carnegie Hall, and one seated next to her on a plane — were extraordinary.

Jessye Norman was celebrated in the opera world and known as one of its greatest voices; her one evening on stage with Bruce Springsteen is just a footnote in an amazing career. But if you happened to be there you saw something very special.  And the bonus for me came in that chance encounter, when I learned first-hand that she was a funny and charming woman. I'm glad we had that six-hour friendship.
- October 3, 2019 - Robert S. Bader reporting - special thanks to Flynn McLean


A quick note to thank everyone in DC, Philadelphia, and Asbury Park who came out to celebrate the 70th Birthday of Bruce Springsteen at The Pink Cadillac Club. The attendance in DC and Philadelphia weren't quite what was hoped for, but what we didn't have in numbers, we made up in passion and enthusiasm. Thirty-five years ago it was a lot easier to go out on a work/school night and get up early the next day. Several people remarked that at this point in their life, they're in bed by 10pm. I feel you.

Asbury Park at The Saint on Monday night, September 23, was a whole different ball game. There were Spring-Nuts, BTXers, and members of secret Facebook groups in attendance. There were solo attendees in search of a connection. We had fans in from Italy, British Columbia, England, Alaska, Ohio, Maine… we even had some folks from New Jersey in attendance! While Danny Clinch and Tim Donnelly's Sea.Hear.Now festival certainly helped, it was never more evident that Asbury Park continues to grow and evolve, as more and more people visit based on the legacy of the area as a music touchstone. 

Pink Cadillac Club driver Bob Zimmerman, left, with Glenn Smith

Camille Conte, host of The Camille Conte Show

Jarod Clemons and Lee Silverstone

Annette came all the way from Sweden...

From Kentucky...

From British Columbia — "The only folks to request something from The Seeger Sessions," says Zimmermen, "they got The Saint dancing to 'Oh Mary, Don’t You Weep'"

Having Bruce's 70th party at The Saint was special. As we expressed that night, the allure of The Saint as a music venue is how it still has one foot in Asbury Park's past and the other in its musical future. Not a dive bar nor a homogenized retro rock facade, The Saint felt real from its roadhouse rock 'n' roll interior to the personal feel from the entire staff all night long. Thanks to Scott and his amazing staff for treating us so well. 

As great as The Saint was as a venue, the folks who filled it up on the 23rd were even better. All night long, people talked to me and my new best friend, college alumni buddy/photographer extraordinaire Mark Krajnak, about their Bruce insights — amazing shows they saw and who they saw them with, what Bruce's music has meant and continues to mean in their life, and the joy in someone they admire turning out some of the most meaningful music this far in the game.

As I told one attendee, I knew in 1979 that Bruce would probably be the soundtrack to my high school and college years. What I didn't expect, and what I value so much, is his music would go on to be part of dating, marriage (all that goes with it), raising a family, navigating different careers, watching family members age and pass away, as well as lending value and insight to some of the most heroic and tragic events to happen in our country's history and cultural shifts. Yeah, it's a whole lot more than "only rock 'n' roll," and goddamnit, I like it. 
- October 2, 2019 - Bob Zimmerman reporting - photographs by Mark Krajnak

Stevie returns to the underworld in Scorsese's latest mob epic
Steven Van Zandt will appear briefly in The Irishman, playing the late singer Jerry Vale in Martin Scorsese's latest Mafia epic, which is based on Charles Brandt's non-fiction book I Heard You Paint Houses: Frank "The Irishman" Sheeran and Closing the Case on Jimmy Hoffa. Van Zandt has gone on record deeming I Heard You Paint Houses as "the best Mafia book I ever read, and believe me, I read them all. It's so authentic."

Stevie becomes the second E Street Band member to appear in a Scorsese film, following Clarence Clemons' small role in the 1977 musical drama New York, New York, starring Robert De Niro and Liza Minnelli. Since the storyline of The Irishman, which also stars De Niro, deals much with Philadelphia-based organized crime in the 1970s, there's yet another Bruce Springsteen connection to be found in the film: the appearance of the late Philly mafioso Phil "The Chicken Man" Testa, who's played by actor Larry Romano and previously was immortalized in the opening line of Springsteen's "Atlantic City."

The Irishman will launch a limited theatrical run on November 1 and then become available for streaming on Netflix beginning November 27.
- October 1, 2019 - Shawn Poole reporting


Last week, only six shows into a two-month U.S. leg of his Summer of Sorcery Tour with the Disciples of Soul, Little Steven was forced to cancel the majority of his remaining dates under doctor's orders because he was suffering from sinusitis. Concerts planned for November 2 and 6 are still on; refunds for the rest will be issued at point of sale.

Following seven shows in Australia and New Zealand in April to conclude the Soulfire world tour, his extensive six-month Summer of Sorcery tour began in early May to coincide with the release of the new album. It has been rolling back and forth across the Atlantic virtually non-stop ever since, with concerts taking place, on average, every two days and only very short breaks between the American and European legs.

Of the 56 shows the Disciples of Soul had played prior to the cancellation, five took place in Canada, ten in the UK (England, Scotland and Wales), 17 in the U.S., and 24 in Europe (Austria, Belgium, Denmark, France, Germany, Hungary, Ireland, Italy, The Netherlands, Norway, Monaco, Poland, Serbia, Spain, Sweden and Switzerland).

The latest 28-date US leg began on September 7 at the Big Blues Bender at the Hard Rock Hotel and Casino in Las Vegas. It continued with three Californian gigs: Ventura, Berkeley (where the band were introduced by Wavy Gravy), and the Kaaboo Del Mar festival near San Diego. From there, they moved on in mid-September to Tucson, AZ and Englewood, CO — a cover of Bruce Springsteen's "Tucson Train" was played both nights [VIDEO]. By then, Little Steven had become unwell, and the four remaining September concerts were cancelled:

Wichita, KS – Wichita Orpheum (September 20)
Louisville, KY – Bourbon and Beyond festival (22)
Arlington, TX – Arlington Music Hall 25)
Austin, TX – Emo's Austin (29)

Unfortunately, with no discernible improvement in his condition, the decision was then made to cancel all scheduled shows in October and one in November:

New Orleans, LA – House of Blues (October 1)
Birmingham, AL – Iron City (3)
Memphis, TN – Soundstage at Elvis Presley's Graceland (5)
Atlanta, GA – Center Stage Theater (7)
Athens, GA – Georgia Theatre (9)
Norfolk, VA – The NorVa (11)
Detroit, MI – St Andrew's Hall (13)
Grand Rapids, MI – 20 Monroe Live (15)
Burnsville, MN – Ames Center (17)
Milwaukee, WI – Pabst Theater (19)
Winnipeg, CAN – Burton Cummings Theatre (21)
Chicago, IL – House of Blues (23)
Cleveland, OH – Masonic Auditorium (26)
Des Moines, IA – Hoyt Sherman Place (28)
Columbus, OH – Newport Music Hall (30)
Munhall, PA – Carnegie Library Music Hall (November 4)

Little Steven issued the following statement:

I thought I could shake this sinusitis, but it doesn't seem to be going away. I've never cancelled shows before. I feel terrible about this, but my doctors are telling me there's just no way to continue right now. We were really looking forward to continuing this tour around the world. We want to thank the fans for all of their support. I really hope we can make up these dates someday, somehow.

The only two shows to survive the purge were:

Medford, MA (Boston) – Chevalier Theatre (November 2)
New York, NY – with Peter Wolf and the Midnight Travellers – Beacon Theatre (November 6)

The New York concert will be filmed and recorded for a future live album and DVD release, with details to follow.

The boxed set of Little Steven's back catalogue (with additional outtakes, remixes, interviews and live DVDs) is presumably still due for release at the end of the year, although there has been no official word for a while.

If E Street recording sessions materialize later this year and an E Street Band tour follows next year (Springsteen himself has discussed both publicly, though there has been no official announcement), it may be a long time before Little Steven is able to get the Disciples of Soul back together and reschedule those 20 lost shows. The cancellation news comes as a disappointment for fans that have held tickets for a while, but obviously his health comes first.

Sinusitis is a condition where the lining of the sinuses becomes inflamed and swollen and can be extremely painful. Symptoms can include a feeling of pressure in the face, sore throat, cough and fever. Acute sinusitis can take up to 12 weeks to subside, and chronic sinusitis may take even longer. Such a condition is particularly debilitating for a singer, especially one who is subject to cabin depressurization while flying between shows.

Backstreets wishes Little Steven a swift recovery and looks forward to seeing him back onstage in November.
- September 30, 2019 - report and photographs by Mike Saunders

Photograph by Michael Kravetsky for MCHA

I've seen the past of Rock and Roll Future, but for at least a few minutes on Saturday night, it couldn't compete with Rock and Roll Present.

During an evening full of discoveries and surprises, Bruce Springsteen made a surprise guest appearance at the "Dancing the Dark" preview party that officially opened the new Monmouth County Historical Association exhibit, Springsteen: His Hometown. It was Bruce's first performance in his hometown since his 1996 acoustic show at his grammar school, St. Rose of Lima.

And it was indeed a surprise: any secret hopes that attendees might have had were seemingly dashed earlier in the day when Patti Scialfa's Instagram showed the couple together on Governor's Island in New York to support their daughter Jessica at an equestrian competition.

But Bruce must have been determined to thank his hometown, because he made a brief appearance, sneaking in unceremoniously around 7pm to tour the exhibit and joining Joe Grushecky on stage for a blistering "Light of Day" before leaving by 8:30 to rejoin his family.

Photograph by Michael Kravetsky for MCHA

"I can't stay long, I've got my family in the city. But I wanted to just come down and thank everybody for supporting the Historical Association. It's nice to be honored in your hometown. "

And while it was only one song, it's clear that Bruce is still in peak rock 'n' roll condition. For a night that was retrospective in nature, Bruce seemed determined to convey that his story is far, far from over.

As for his on-stage accompaniment, it's been more than three years since Bruce and Joe last shared a stage together, but their on-stage chemistry is as strong as ever, and the Houserockers continue to prove themselves as more than capable E Street stand-ins.

But while that "Light of Day" performance might have been the apex of the evening's excitement, it was far from the only attraction.

Besides the scorching opening set by Bobby Bandiera and his band and the Houserockers house party that followed, there was a museum to explore, a silent auction to compete in (or envy), and a park full of surprises.

Remember Bruce's story from Springsteen on Broadway or Born to Run of learning to drive while crossing the country with Tinker West in Tinker's truck? Well, Tinker's truck was on the premises (along with Tinker himself), and for a $25 donation to the Monmouth County Historical Association, you could pose for a photo in it and imagine you and Bruce climbing over each other to switch seats, hoping the truck stayed on the road in the process.

Photograph courtesy of Ken Rosen

The "Born to Run" fire truck that Bruce donated to the local fire department in 1991? That was there, too.

Under the big tent were the silent auction items, including signed, famed photos by Frank Stefanko and Danny Clinch (Danny's photo of Bruce is in his Broadway dressing room had reached $5,000 by the time I left around 10:30pm), Freehold getaway packages (including a private, after-hours museum tour), Bruce's mysterious "Nites of Rutgers" tee shirt (sadly, only a reproduction), and even a Big Man's Brew tap handle. All proceeds benefited the Historical Association, and well before the evening ended it was clear that the Association would have a lucrative evening.

The exhibit itself held even greater treasures — whether you're interested in tour and album cover props, song lyrics, old newspaper clippings, or the Springsteen family tree, there's more to learn than one can reasonably take in during a single visit, especially for partygoers who were admitted through the evening in sequential 45-minute windows. I now know about the accomplishments and life events of Springsteens dating back to the American Revolution (which threatens to widen the scope of my "Kingdom of Days" blog posts to a frightening degree).

Photograph by Lisa Iannucci

Between the auction, the vehicles, the on-stage entertainment, and the museum exhibit itself (see our coverage here), it was easy to get overwhelmed at times. If you didn't know where to look next, however, you could always socialize with fellow party-goers. It was the kind of night where fans mixed and mingled with notables like Vini Lopez, Danny Clinch, Kevin Buell, and Tinker West. (However, Brian Williams, who had been announced as the host for the evening, did not appear to be present.)

By any criteria imaginable (except perhaps the weather—it was a hot, muggy New Jersey night), the event was a smashing success, and a terrific kick-off for an exhibit that every Springsteen fan should try to see.
- September 30, 2019 - Ken Rosen from E Street Shuffle reporting


Last night, Bruce Springsteen made a surprise appearance to perform "Light of Day" with Joe Grushecky & the Houserockers, at the opening event for the Springsteen: His Hometown exhibit.

"I can't stay long, I've got my family in the city," Bruce told the crowd, "but I just wanted to come down and thank everybody for supporting the [Monmouth County] Historical Association and for coming out tonight. I want to thank the kind folks who put the exhibit together —  it's nice to be honored in your hometown. I hope you guys have a great night… enjoy yourselves!"

As you can probably tell from the video above, they did. Full report from the event to come.
- September 29, 2019 - thanks to Sammy Steinlight for the clip

A sneak peak at the Springsteen exhibit opening in Freehold

Excitement has been building since the mid-June announcement of "Springsteen: His Hometown," the Monmouth County Historical Association (MCHA) exhibit set to open Sunday, September 29.

Timed to coincide with Bruce Springsteen's 70th birthday, the exhibit is not meant to be a comprehensive portrait of the Freehold native, but rather to contextualize him within his hometown and its history — which is a good thing, because between his recent autobiography and long run on Broadway, there is no longer as much mystery surrounding Bruce's life and career.

That being said, there are interesting and noteworthy items included that make the museum well worth a visit, among them the "Ticket Booth" stage set from the 1987-88 Tunnel of Love tour, a handwritten grade school term paper, a humorous note from Bruce to his Long Branch landlady, a hand-colored Castiles poster, and the TEAC machine on which he recorded the Nebraska album. The items, pulled from the Bruce Springsteen Archives & Center for American Music at Monmouth University, from the MCHA, and from Springsteen's personal collection, are just a snapshot of the materials available to researchers now and in the future.

There are two distinct segments of this exhibit: the first floor is a fairly standard setup featuring a timeline of Bruce's life and key artifacts, like alternate album covers, promo posters, and guitars; the upstairs provides a brief overview of Freehold's history and details the lives of selected local relatives.

One room contains artifacts and biographical histories of his parents Douglas and Adele, as well as historical photographs of the town of Freehold. Another contains paintings, photographs, and papers documenting the history of a number of Dutch and Irish relatives and their participation in both the Revolutionary and Civil War. There's also a mock 1950s-era store front that Adele might have passed on her way to work each day.

Also included in the exhibit are: a short documentary film by local artist Adam Worth that includes 1931 footage of Freehold as well as home video footage and a poignant interview with Bruce's cousin Glenn Cashion; a small selection of fan art; even a "Fan Mail" box where visitors can leave their personal messages to Springsteen. What's not in this exhibit is audio —aside from the aforementioned film, you won't hear music or interviews/commentary that now seem de rigueur in contemporary music/cultural museums. This is a quiet exhibit.

There is much to enjoy in this presentation, like the visually arresting blowup of a classic Frank Stefanko portrait hung on the stairway that greets you as you enter. But what lingers afterward is a feeling of loss, not so much for a time or a place but of a way of life.

Powerful family and community ties once made life in Freehold tolerable for the hard luck Springsteen family, as they did for much of America's working class. Despite devastating loss and paralyzing despair, people were able to keep on going because they had these human resources to lean on. Life moved more slowly then, and adults and children seemed to exist in different orbits. As a child, you were often left to your own devices and your own imagination to while away the hours. But you had much to anchor you, much to look forward to — the Sunday dinners, the picnics and birthdays, christenings and funerals, and of course, the obligatory family photos that were commonplace in everyday life. And this was all preserved not just in people's memories, but in archival images and documents and artifacts like those that comprise this exhibit.

But those days are long gone; people are busy with their electronics and often seem disconnected from each other and from the world at large. What was once documented on paper and in photographs now exists as an array of ones and zeros in a stream of data, and archivists and historians of the future will no longer sift through papers and images to uncover history, to discover and document the events of a life. Visitors of a certain age will recognize themselves in the images and artifacts of "Bruce Springsteen: His Hometown." But how will the next generations remember?

* * *

The MCHA has been posting teasers of the upcoming exhibit on social media, and has even set up a "pop-up" installation of a pair of Springsteen's guitars in the lobby of the Count Basie Theatre in Red Bank. There have been also contests for free exhibit tickets and solicitations for volunteer museum docents.

The MCHA will host a preview party this Saturday, September 28, featuring performances by Bobby Bandiera and Joe Grushecky and the Houserockers, and hosted by honorary chairman Brian Williams. The sold-out event benefits the Monmouth County Historical Association.

The "His Hometown" exhibit is co-curated by MCHA's Bernadette Rogoff and Melissa Ziobro, Monmouth University's Specialist Professor of Public History. It officially opens September 29, 2019, and runs through October 2020. Eileen Chapman, director of the Springsteen Archives, and Robert Santelli, founding director of the Grammy Museum in Los Angeles, are exhibit advisers.

Exhibit hours are: Wednesday, Friday, Saturday, and Sunday 11 to 5; Thursday 11 to 8. Timed entry tickets (available here or on site) are $15 for adults, $12 for seniors/students with ID; free admission for Freehold residents and children 6 and under. Photography is permitted.
- September 27, 2019 - report and photographs by Lisa Iannucci

Backstreets associate editor conjures live recording for The National
It ain't no secret that Backstreets has long had a major interest in live recordings — released and unreleased, broadcasts, bootlegs, taping, and tape trading. Readers may remember Lynn Elder, who rated and reviewed unofficial recordings for us (including Elder's You Better Not Touch series of bootleg reviews), and other Backstreets contributors like Fred Mills and Flynn McLean have also tracked such things for us over the years.

Then there's Erik Flannigan, longtime Backstreets associate editor. He and Lynn Elder go way back — they even dated for a stretch — and among Erik's particular set of skills is deep knowledge of taping history and live concert recording. You can read Flannigan's insights monthly at the blog, where he provides context for each new release in Springsteen's live series.

Though it's not a Springsteen release, we think many Backstreets readers will be interested in Erik's latest project, a live release by The National with an intriguing twist, as well as an accompanying documentary that will fascinate anyone with an interest in taping culture. It's called Juicy Sonic Magic.

Erik writes:

Today, almost everyone attending a concert takes out their smartphone and records part of the show on video. Millions of such live clips can be found on YouTube. But in the '70s and '80s, few were brave enough to sneak in a recorder, cunning enough to elude security, and skilled enough to preserve live performances on audio tape in high quality. The late Mike "The Mike" Millard did all three with aplomb. He is responsible for some of the most beloved audience recordings of artists like Led Zeppelin, the Rolling Stones, Bob Dylan, Linda Ronstadt, Jethro Tull and Bruce Springsteen.

Millard is a legend among collectors of those artists on the Internet, but surprisingly little is known about him beyond a few basic facts. The rest is pure speculation. There isn't even a confirmed photograph of him found on the Web. I have tried to learn more about Mike for many years, and recently, after connecting with some of his close friends and family, I was finally able crack the code. His real story is fascinating and deserves to be told. I also wanted to understand how Mike made such great recordings on 1970s equipment.

Last year, I got the idea to track down the same vintage gear Millard used and recreate his taping set up. All I needed was a concert where I could lug in a 15-pound Nakamichi cassette recorder and full-size AKG microphones.

Happily, the Millard story piqued the interest of my friend Matt Berninger from The National, and the band agreed to allow me and my filmmaker friend David DuBois to record two concerts in Berkeley last September. I'm happy to say those recordings will now be released as a three-cassette box set for Record Store Day on Black Friday, November 29. In the process, David and I produced an accompanying mini documentary about Mike the Mike and our attempt to record The National using what we now call The Millard Method. The trailer for Juicy Sonic Magic has just dropped, and I'm thrilled to share a glimpse of Mike's story and the adventure we had paying homage to his work.

Watch the Juicy Sonic Magic trailer here, and read more about the project at

- September 26, 2019

There may be no Western Stars tour, but we still get a Western Stars live album: the soundtrack to the concert film is coming from Columbia Records on October 25, the same day the movie opens wide in theaters.

Western Stars: Songs From the Film captures the performances straight from the movie, as performed live for the cameras at Stone Hill Farm in Colts Neck, NJ, with Springsteen backed by a band and full orchestra. The 14-song track listing includes the album in sequence, followed by a performance of "Rhinestone Cowboy." Produced by Springsteen and Ron Aniello, the audio has been mixed by Bob Clearmountain and mastered by Bob Ludwig.

Thanks to today's album announcement, we also have the full credits of musicians who performed in the film, including several familiar from the E Street Stage:

Bruce Springsteen: Vocals, Acoustic Guitar
Patti Scialfa: Acoustic Guitar, Vocals, Vocal Arrangements
Rob Mathes: Keyboards, Piano
Charlie Giordano: Piano, Organ, Accordion
Marc Muller: Pedal Steel, Electric Guitar, Banjo, Acoustic Guitar
Gunnar Olsen: Drums
Ben Butler: Electric Guitar, Banjo
Kaveh Rastegar: Bass Guitar
Henry Hey: Keyboards

Violins: Joanna Maurer (Concertmaster), Monica Davis, Maggie Gould, Joyce Hamman, Elizabeth Lim-Dutton, Laura Lutze, Annaliesa Place, Emma Sutton, and Robin Zeh
Violas: Maurycy Banaszek, Will Frampton, and Celia Hatton
Cellos: Andrew Janss, Maureen McDermott, and Alan Stepansky
French Horns: Rachel Drehmann and Zohar Schondorf
Trumpets: Barry Danielian and Curt Ramm
Background Vocals: Patti Scialfa, Soozie Tyrell, Lisa Lowell, Vaneese Thomas, and Surrenity XYZ

More details regarding formats and pre-ordering coming soon; watch this space.
- September 26, 2019

With a gig tonight in Nashville, GWT talks More Like Me with Backstreets
When crafting one's story, one often looks back to the influences that make us who we are. For Garry W. Tallent, it's not just about looking back but bringing it forward. In 2016, Garry released his debut album, Break Time, his tribute to the rockabilly sound of the late '50s, a genre Garry acknowledges is closest to his heart. For his follow-up, he takes us on adventure into the next decade with More Like Me — "a salute," Garry says, "to the psychedelic, garage band, and pure pop sound" of the 1960s.

When Garry moved to New Jersey in 1964 he didn't know anyone at his new high school. He tells Backstreets, "I felt the only way to fit in was through music. So, I formed a band and we played the hits of the day."

In 1966 it seemed that every street in every town had a band rehearsing in a basement or garage, each with its own sound. Being in a band was cool, music was a universal language and source of connection. What wasn't so universal? Bass playing.

"No one really knew what a bass did," Garry laughs. "The English bands had a bass all of sudden, but we had bands that didn't have a bass because we didn't know what they did.  I started playing bass, but I would also switch back and forth with guitar and even drums and organ — basically, trying to play wherever I could with better musicians than myself so I could learn. That was my path."

Garry sought the music that excited him the most. Songs that were unique, inventive and pushing boundaries. "In rock 'n' roll you're always trying something new, playing with it," he says, "That's what makes it fun. Certain songs would come on the radio that would catch my attention because they were new and different. Songs like '96 Tears' by Question Mark and the Mysterians, or the Beatles' album Revolver."

"Pushing limits," Garry continues, "is what rock 'n' roll is all about. Going out on a limb then getting back on track. Doing something that can't be anticipated. And sometimes you screw up. That's where the fun is, and that challenges me to be better musician."

That sense of fun, challenge, and adventure pervades Garry's solo albums, on which he steps up to sing lead, trades his bass in for guitar, and on the new one — speaking of Revolver — even picks up the sitar. More Like Me takes a classic sound and pushes it. A twist here and a new approach here, and those '60s sounds are more than just recreated but refreshed.

"I approached More Like Me as an homage to the mid 1960s — I was aiming for 1966," Garry specifies. That era when there was a band on every street corner, in every garage. When the sounds were very diverse — you had the psychedelic influence, the pure pop sound, electric organ and distorted guitar."

The album's opening track, "Above the Rain," takes you there with its gritty, pulsing, feel-good 60s sound. Other highlights are "To Tell the Truth," evoking the sweet harmonies heard in the British pop hits of that time, and "No Sign of Love" with its haunting groove and sitar, which Garry says "You gotta have" — no record paying tribute to the era would be complete without that flourish. "Dirty Rotten Shame," which also features Bruce Springsteen sharing vocals, mixes in some of Garry's beloved rockabilly. The title track, "More Like Me," is a solid finish, a message of determination grounded in the sweet sound of the classic Vox organ. Co-produced by Garry and Tim Coats, it's an album full of great music, cleverly written and tightly produced.

Writing is not new for Garry, but singing is, and he wants to continue to improve. He didn't grow up singing like many of his contemporaries; in choir, he recalls that he was told not to sing, but to just move his mouth. Despite not being a natural, he eventually decided he could learn.

"I thought that I couldn't sing, so I accepted that. Some people are just born naturally with the ability to sing. I wasn't one of them. So, I'm going to learn.  People can learn to do anything — it just takes practice."

He's been writing music much longer. "Writing the music comes easy," he explains, "but not the words. So I'll collaborate with another writer." With the exception of "Dirty Rotten Shame," all the songs on More Like Me are co-writes.

"I'm a guy who writes songs, versus a songwriter," he continues. "I admire those who study poetry, read voraciously, and draw from their literary experience to write… but I just kind of wrote what feels good. The very thing that kept me from doing this earlier is I knew that anything I did would be compared to Bruce. And he's a lyrical genius."

Next up for Garry is working with his Nashville compatriots The Delevantes on new recordings, 25 years since they did their last album together (Garry produced 1995's Long About That Time and 1997's Postcards From Along the Way). Looking back on their work together he says, "I'm proud of the records we made. We were aiming for country radio. I think we were a bit ahead of our time."

As always, Garry's about trying new things through finding interesting and unique music. It's been his mission since he first learned to play. He knew that this was what he wanted to do — as he puts it, "I just wanted to play music, so I didn't have to work a real job." And while you might imagine a third solo album would take us into the 1970s, Garry's still exploring and has recently been listening to the pop music of the 1940s, songs that echo the great collaborations that came from Tin Pan Alley. 

As long as Garry keeps exploring and never, ever has to get that real job, we'll all be the better for it. Regarding another album, Garry says, "It's liable to be anything. We'll see." But this you can count on: "There's going to be a little bit of rockabilly in everything I do. That's just what I do."

Though Garry has no current plans to tour in support of More Like Me, he will be playing upcoming dates in Nashville with the Delevantes. Follow Garry on Instagram for updates on shows and appearances: @garrytallentofficial

Garry Tallent and the Delevantes will be performing tonight, September 25, at Third and Lindsley in Nashville.

Signed copies of More Like Me are available from Backstreet Records, on vinyl LP and compact disc.

- September 25, 2019 - interview and photographs by Barry Schneier

As wonderful as the Jersey Shore is between Memorial Day and Labor Day, many say September is even better. "Locals Summer," as it is called, is loved by many because the tourists and day-trippers aren't as plentiful, but the Atlantic Ocean is warm, and the weather is usually nice. This past weekend in Asbury Park, the weather was indeed nice — hot, even, for the last weekend in summer.

But it was plenty crowded as well. And I emphasize plenty.

Roughly 35,000 people took in the Sea.Hear.Now music and arts festival, now in its second year. The sun was shining, and temperatures were in the mid-80s. That, combined with fantastic performances by local and national artists, made this weekend in Little Eden one to remember.

Sea Hear Now is the brainchild of Tim Donnelly and photographer (and Toms River native) Danny Clinch. Having worked many festivals, like Bonnaroo, together, they knew what needs to happen to put on a successful event.

The first thing, of course, is bringing in great bands. This year the headliners included the Lumineers, who closed out Day 1 [above, head Lumineer Wesley Schultz], and the Dave Matthews Band [below], who capped the weekend festivities with a jingle-jangling 90-minute set on Sunday night.

In between, though, were local bands like Lowlight (Asbury Park), Sharon Van Ettan (Hunterdon County), Low Cut Connie and Dave Hause & The Mermaid (both with South Jersey/Philadelphia roots), as well as other big names such as Blind Melon, Dropkick Murphys, Joan Jett & the Blackhearts, the B-52s, Bad Religion, and The Struts [Struts frontman Luke Spiller below] taking over either the Surf Stage or the Sand Stage.

Technically the Lumineers can be considered a New Jersey band, too, as they got their start in Ramsey, NJ. And let's not forget, while the B-52s are considered an Athens, Georgia, band, lead singer Fred Schneider lived in Long Branch, NJ, and attended Shore Regional High School. This was a sort of homecoming for him as well.

All the while Danny Clinch could be seen on stage, either snapping photos with his Leica or adding his harp to some of the songs — this, in between acting as event promoter, host, and organizer of some late-night jam sessions with the artists.

There were no Boss sightings — unlike last year, when Bruce Springsteen showed up to play with headliner Social Distortion — but still plenty of the Springsteen vibe to be found. E Street saxophonist Jake Clemons kept busy, guesting with Donavon Frankenreiter, the Marcus King Band, and Dave Hause & The Mermaid, as well as with Pearl Jam's Mike McCready and other artists at a Stone Pony jam on Saturday night. A number of artists did their version of Springsteen songs during their sets. Click here to watch all the covers — Springsteen and otherwise — performed over the weekend festival. A good number of festival goers sported E Street Band T-shirts from concerts through the years, as well.

What really makes Sea Hear Now unique, though, is its proximity to the ocean. While bands are jamming on the stages, festival-goers can also be watching world-class surfers doing their thing during "expressions sessions" on the water.

And, in the Transparent Clinch Gallery tent that was in Bradley Park, not far from the Park stage, artists from the bands had a chance to display their other creative outlets.

This was quite a summer in Asbury Park, which saw a good deal of Springsteen action. In May, he did a guest turn with his consiglieri, Little Steven, when the Disciples of Soul kicked off their tour in Convention Hall. In July, he returned to help out his pal Gary Tallent on a couple of songs on the Stone Pony Summer Stage; Bruce played eight songs with Southside Johnny later that same night.  Then, in August, he and Patti walked the red carpet for the premier of Blinded by the Light.

Overall, the Sea Hear Now festival was an incredible way to goodbye to Summer 2019. Some festivals, like Bonnaroo and Lollapalooza, may be bigger in name and scope, but give it a few years, and SHN may well join their ranks.

Anyway, where else can you see mermaids, mermen, and pirates parading down the boardwalk on their way to a Joan Jett concert?

Only in Asbury Park, New Jersey.
- September 24, 2019 - report and photographs by Mark Krajnak - follow him on Instagram @jerseystyle_photography

New podcast None But the Brave launches for Springsteen's 70th

You may recognize their names from this space, and now you can listen to their new podcast: Backstreets contributor Flynn McLean and Hal Schwartz, whose reviews and photos appear here, too, have launched None But the Brave: The Springsteen Podcast for the True Aficionado.

Each episode will take a comprehensive look at an element of Springsteen's music and career. The first one isn't about a 1972 audition in midtown Manhattan or covers of news magazines in 1975; it's about Bruce's latest work, Western Stars. That makes sense for a variety of reasons, especially because both hosts really like the record.

"It seems like an unexpected place to go for an artist at this stage of Bruce's career," McLean says. "Images and subjects on Western Stars are familiar, whether cars, relationships, highways, or bars. But they tell a different story, and that's part of what makes this album unique."

New episodes will appear every two weeks, and the second one will concentrate on Springsteen's Live Archive series. No shortage of material there, of course, as the official series itself has been a monthly affair for over two years now.

None But the Brave had been on Schwartz's mind for a while. "Creating a podcast is a lot more difficult than I thought," he says. "We spent a quite a bit of time figuring out how we wanted to approach it: bouncing episode ideas around, doing research for potential topics. It took a while to come together."

And then there's the low barrier to entry, which is a benefit and potential hazard for any venture like this: though their expertise is tops, neither is a professional broadcaster. "No matter how much we talk about Bruce, doing it for public consumption is a lot different," Schwartz says. "Full disclosure: the episode you're hearing today is not our first attempt. We think we have it down now, and hope people will like it."

None But the Brave lives at and there you will find links to subscribe to the show on all major podcast platforms. You can listen to Episode 1 now.
- September 24, 2019

"I'm a lifetime musician," Springsteen said in 1992, at the age of 42. "I’m going to be playing music forever. I don’t foresee a time when I would not be onstage somewhere, playing a guitar and playing it loud, with power and passion. I look forward to being 60 or 65 and doing that." As we wish Bruce Springsteen a very happy 70th birthday, we also celebrate the fact that he was exactly right. Keep on keeping on, Bruce. As a wise man also once said, "The older you get, the more it means."

And to celebrate the big day, Backstreets presents...

For his 70th birthday, Bruce Springsteen by the numbers

- September 23, 2019 - photograph by Danny Clinch

With birthday festivities in mind, DJ Tom Cunningham is taking his show on the road this weekend, emerging from the studio confines for a special edition of Springsteen on Sunday broadcasting live from Windmill Hot Dogs! Sunday morning's show will originate at the Jersey Shore chain's newest location, Ursula Plaza/ North Long Branch — and if you're in the area, you're invited to the party.

As usual, Tom's all-Springsteen radio show will air live from 9am to 11am — but this Sunday doors open at 8am, and it's first-come, first-served. Windmill will have some complimentary light breakfast fare on hand, and the grill will be open as well — so if you want hot dogs for breakfast, just bring some cash! You might go home with something new in your pocket, too. Tom will be giving away birthday presents, with chances to win:

  • Limited edition Springsteen on Sunday T-shirts (pictured above)
  • Tickets to see Southside Johnny & The Asbury Jukes at the Hard Rock Hotel & Casino in Atlantic City, on Friday 11/22
  • Tickets to the upcoming Springsteen: My Hometown exhibit, opening on 9/29 in Freehold
  • A package from photographer Frank Stefanko, which includes one of his Springsteen prints and a T-shirt that goes along with it.

Tom will joined by special guests for the program: the co-curator of Springsteen: His Hometown, Bernadette Rogoff, will be there for all the scoop on the upcoming Monmouth County Historical Association exhibition, and Stefanko will be there to talk about his role in it, too.

If you can't make the party in person, you can stream online or tune in to 107.1 The Boss.
- September 20, 2019


Coinciding with Bruce Springsteen's 70th birthday, we are excited to announce that Barry Schneier will be giving a presentation about his book Bruce Springsteen: Rock and Roll Future at the Rock and Roll Hall of Fame next week: Friday, September 27 at 2pm in their Foster Theatre.

"This is a true honor, and a chance to for me to meet more of the fans who backed the book," Barry tells Backstreets, "as well as many new people. I really enjoy sharing my stories and taking questions." Barry's been doing quite a few speaking engagements since the book's launch, but he says the Cleveland stop will clearly be a highlight. Bruce Springsteen was inducted into the Rock Hall in 1999 and the E Street Band followed in 2014.

Barry's relationship with the Rock Hall goes back more than a decade to 2009, when his work with artists such as Van Morrison, Bonnie Raitt, Jackson Browne, and Patti Smith as well as Bruce Springsteen became part of the Rock Hall's permanent collection. His images were featured in the Rock and Roll Hall of Fame + Museum's 2009 exhibit "From Asbury Park to the Promised Land: The Life and Music of Bruce Springsteen."

Barry's presentation goes deeper into the stories found in Rock and Roll Future, discussing the early '70s era that is the book's focus and his own involvement with the music scene at the time. In addition to expanding on the '74 E Street Band photos in the book, Barry will share his more recent images of Bruce and the band, as well as other photos of E Streeters on the road with their own projects. Following the presentation there will Q&A and an opportunity to purchase signed books (or to have yours signed if you already have a copy).

More signings and speaking events around the country are in the works now; we'll be the first to tell you as these dates and locations are formalized.

Learn more about the Rock Hall event here

Purchase your copy of Bruce Springsteen: Rock and Roll Future here

- September 18, 2019 - photographs courtesy of the Rock and Roll Hall of Fame (top) and Cary Mulcahy


- September 18, 2019

Boss birthday bash in Canada does its part for hungry hearts

Here at Backstreets, we often think of September 23 as a national holiday. This year, as Bruce Springsteen approaches 70, that doesn't feel so out of touch with reality. While we've written about the Pink Cadillac Club parties getting underway tonight, they're not nearly the only birthday celebrations planned —  and, of course, the holiday is international.

North of the border, a tribute concert to commemorate Springsteen's 70th birthday will raise funds for Moisson Montreal, the city's — and Canada's — largest food bank.

The Last of the Duke Street Kings, Montreal's own world-class Bruce tribute band, will provide a rocking evening of great Boss music Monday night at La Sala Rossa, one of the city's best established clubs. Last of the Duke Street Kings are known not only for doing a masterful job of playing Springsteen songs, but for capturing the spirit of an E Street Band performance with their joy and energy.

Other performers include an all-star band led by Montrealer Howard Bilerman, Grammy-nominated musician, producer and engineer. Howard's long list of credits include drumming for Arcade Fire as well as working on award-winning recordings for Leonard Cohen, Godspeed You! Black Emperor, and literally hundreds of others. Sharing the stage with Howard will be Campbell Woods, Chris Velan, Josh Toal, Mike O'Brien, Simon Nakonechny and Steve Herskovitz.

If you're in the area, celebrate Bruce's music with a fun night for a terrific cause, September 23 at Sala Rossa, doors open at 7:30. Tickets are $25 at the door, or $20 in advance via or
- September 17, 2019

After last week's rapturously received world premiere of Western Stars, which Thom Zimny co-directed with Bruce Springsteen, followed by Zimny's Emmy win over the weekend for Springsteen on Broadway, you might think a guy could rest on his laurels. For at least a little while. But no, the filmmaker is getting right back into the editing bay, working on what he calls an "ultimate fan piece" for the Fathom Events premieres of Western Stars.

As the Fathom press release notes, these early screenings will add "an exclusive look behind the scenes with Springsteen, including never-before-seen archival footage and previously unreleased music from the Springsteen vault."

Zimny tells Backstreets, "This is not a throwaway." He describes the bonus feature as combining "outtakes from the shoot, as well as some video clips from the vault —  some moments I've found that apply to the story of Western Stars that no one has seen." As for the "behind the scenes" footage, Zimny says it will include "conversations with Springsteen, talking about the filiming experience," as well as "interviews with Patti [Scialfa], the band, and the production team."

To see this extra material along with the feature film, find a theater near you and purchase tickets for the Fathom screenings here, taking place on October 19 (7pm) and October 23 (4pm and 7pm).

Fresh from Toronto, Zimny describes the TIFF premiere as "magical — such a fantastic audience, I couldn't dream of a better way to share this with people for the first time." (See the Toronto Sun's report from the red carpet here.) "It was a packed house, just a perfect way to end this chapter and present it to the world. To see Bruce and the band projected that way... sonically and visually, it was one of the best experiences for me as a filmmaker."

"The Q&As afterward were really insightful too," Thom adds, "with [TIFF documentary programmer] Thom Powers and [Warner Brothers chairman] Toby Emmerich. They both got Bruce talking about his process, with an audience that had just seen the film — and Bruce went deep."

Update: watch official TIFF Talk video below:

Zimny is one who likes to play it loud, and he stresses that any fans who can should make sure to catch this one one in theaters, with the big screen and big sound you get as part of the cinema experience. If you're unable to attend the Fathom Events previews, certainly don't miss it when Western Stars officially opens on October 25.
- September 16, 2019 - Christopher Phillips reporting


And the Pink Cadillac Club is singing our birthday song
A reminder that the East Coast’s only all-Springsteen 70th birthday parties are occurring over the next seven days in Washington, DC; Philadelphia suburb Wayne, PA; and Asbury Park, NJ.

Tickets are still available for the Pink Cadillac Club events in DC (tomorrow night, Tuesday 9/17) and PA (Thursday 9/19). The NJ party on Monday September 23 had less than ten tickets available as of last night.

In addition to a night full of Springsteen music (cool, rare, and rockin’) and meeting and dancing with fellow tramps, the Pink Cadillac Club has partnered with Fathom Events to give away two pairs of movie passes, at each party, to the advance Fathom Events screenings of the highly acclaimed new Western Stars film.

At the DC and PA parties, attendees will be able to film short birthday greetings for Springsteem, which Fathom will edit together and post online on September 23.

In addition to the ticket giveaway, the Pink Cadillac Club will be giving away three 11x14 prints of Springsteen at each party that have been published on and/or and are suitable for framing. These Springsteen prints will be given away at 7pm, 9pm, and 11pm each night.

All parties start at 6pm — think of it as a Happy (Birthday) Hour. The DC event is ALL AGES. In PA, minors under 21 can attend with parent or legal guardian. In Asbury Park, all attendees must be 18 or over.

Visit the following links for advance tickets:

Read more about the history of the Pink Cadillac Club here. Follow on Facebook, Instagram, and Twitter
- September 16, 2019


While the 71st annual Prime-time Emmy Awards are still a week away, the honors began this weekend with the presentation of the Creative Arts Emmy Awards — which is where we look for Netflix's Springsteen on Broadway. While Carpool Karaoke: When Corden Met McCartney beat the Netflix film for Outstanding Variety Special (thus tabling any EGOT dreams for now), Springsteen on Broadway garnerned a tropy in its other category last night: Thom Zimny won the Emmy Award for Outstanding Directing for a Variety Special. Congratulations, Thom! View the full list of awards at
- September 15, 2019

It may be an impossible task to keep track of all the 70th birthday celebrations coming up for our main man, but we'll keep trying! Over at SiriusXM, E Street Radio (Ch. 20) is polling fans for their favorite 20 Bruce Springsteen songs, as a basis for a new Top 100 countdown. Throw your 20 hats in the ring at — but be forewarned, you're about to encounter a whole lot of option paralysis, as you scroll and scroll and the hits keep comin'. The fan-generated Top 100 will kick off Bruce's birthday on the station, premiering Monday, September 23, at 8am Eastern.
- September 13, 2019

The world premiere of Western Stars brings Springsteen & Zimny to TIFF

Appropriately for a film called Western Stars, the first shot is of wild horses, running free in an unnamed western desert landscape. There's no rattlesnake speedway in sight, and we would later find out these scenes weren't shot in the Utah desert but in California, near Joshua Tree. Even still, the scene is firmly set. Bruce Springsteen is about to take us to the Promised Land.

The voiceover starts, and Bruce says Western Stars is made up of stories about "individual freedom versus communal life, and how they rub up against each other every day in American life." Then we cut to the hay loft in an 18th-century barn on Bruce's property. It was chosen as the location to perform the album because they needed a place that could fit a 30-person orchestra. Once the musicians are ready, Bruce and Patti Scialfa clank two shot glasses, down the booze, and we're off.

When Toronto International Film Festival documentary programmer Thom Powers introduced the private screening of Western Stars held for journalists on Thursday morning, he said that some Bruce albums demand to be heard on car speakers, but Western Stars demands to be heard from a great movie theater sound system. Truer words, as they say.

The performance sounds phenomenal. In addition to the 30-person orchestra and the usual guitar/bass/drums/piano, Bruce and Patti also employ a horn section and several backup singers. I remember when I saw Bruce live in 2006 with the Sessions Band, I described it to friends by saying that there's something special about the kind of noise a dozen people can make on stage together. Well, this Western Stars performance used more than 40 people, and it was a special kind of noise indeed.

The joy and ethereal beauty of this music deserves to be discovered without too much given away, so I'll only reveal some of the shockingly incomprehensible scribbles that filled three pages of my notebook by the end of the film. I was particularly moved by the sound of Charlie Giordano's piano in the mix. As an avid Roy Bittan devotee, I admit that it's confusing to me when Bruce ever wants to play with another pianist. But Charlie won me over here, particularly on "The Wayfarer." Stylistically it's a different sound than Roy, but it's lovely all the same. And definitely watch out for the horn section on "Sleepy Joe's Café."

For the first time in his career, Bruce used a music director to assemble the musicians and hold rehearsals. The live music was recorded over the course of four days, but there's a lot more to the Western Stars film than just the live show. We go back to the California desert for an interlude between each track, and Bruce — still in story mode after several years of playing Broadway and writing his autobiography — tells us about the sonic, narrative, and philosophical ideas behind the songs. In one of the great surprises of the documentary, these interludes are accompanied by instrumental music that Bruce wrote and recorded. It was Bruce's first foray into film scoring, which he says he enjoyed because it played like a "tone poem."

It wasn't always going to be that way. As Springsteen said in today's Q&A, which also included co-director Thom Zimny, the original plan was to do a typical music film where, as Bruce put it, "people talk about how great I am to work with, and the usual shit." But that didn't work, and then one night in front of the TV he wrote all of the voiceover script in just a few hours.

Bruce informed the Toronto audience that he views the film as part of a trilogy, along with his book and Broadway show, and it's obvious why when you hear his words in the documentary. It's not just that he's still in story mode, but that he's in revealing mode. Several quotes stuck with me, such as "The older you get, the heavier the baggage that you haven't sorted through." As someone who's really starting to feel like he ain't that young anymore, that line cut into me.

Bruce also talks about how he's spent the Gladwellian 10,000 hours on his craft, but that he's spent even more time trying to let go of the destructive parts of his character, and his tendency to hurt those he cares the most about. This is partially why, as he says, "being lost is something [he has] always been good at writing about."

In perhaps the most personal reveal, one of the interludes is punctuated with footage from Bruce and Patti's honeymoon. They're playing cards on a picnic table in Yosemite, Patti pregnant with their second child, Bruce within arm's reach of a bottle of whiskey on the table. Bruce mugs for the camera, and Patti dances in the doorway. It's a lovely moment.

The interludes are also revealing about the songs themselves. As the film opens with "Hitch Hikin'," Bruce says that it's his 19th album and he's still writing about cars as a metaphor for movement. He asks, "Are we moving forward?" In other interludes he refers to "Western Stars" as the reference point for the record, calls "Sundown" a tribute to Jimmy Webb songs, and describes the stuntman in "Drive Fast" as a metaphor for risk and the idea that "we all have something broken."

With "Moonlight Motel," the record ends on what Bruce called a contemplative note, which is why the film gives us an extra surprise, a fun note to end on as the closing credits begin to appear. In a move that evokes the 2009 tour, when the band would test their chops by playing nearly any classic song they could find written on a sign, Bruce leads the musicians through a rousing version of "Rhinestone Cowboy," the kitsch classic made famous by Glen Campbell.

The song works. Sonically, it has the sheen of the record and the celebratory feeling of the concert film, which shows audience members enjoying the music while sitting at a bar on the side of the barn. And thematically, it hits a note of autobiography that again reminds us that the film is meant as a trilogy bookend. Bruce says he grew up with the TV westerns of the 1950s, and he always wanted his music to encompass the whole country. In a film that alternates several times between a barn in Jersey and the California desert, that span feels sufficiently, beautifully accounted for.
- September 12, 2019 - Daniel Joyaux reporting - Follow Joyaux on Twitter at @thirdmanmovies, and read his further Toronto coverage for Filmotomy: TIFF Diary #1 and TIFF Diary #2

This fall, after the Summer of Sorcery Tour wraps in early November, Little Steven has another date on the books: the Rock and Roll Forever Foundation will honor their founder at the organization's first annual gala, November 23 at the Hard Rock Cafe in Times Square. Drew Carey will host the event, which includes dinner and open bar, followed by musical entertainment provided by none other than New Jersey Hall of Famer Southside Johnny and the Asbury Jukes (with "surprise special guests," of course). New Jersey governor Phil Murphy will also be on hand for the award presentation, honoring Stevie for his dedication to education.

Individual tickets are available now via If you'd like to further help the cause, sponsorships and VIP packages are also available, with more info at that link.

The Rock and Roll Forever Foundation is a 501(c)(3) established by Steven Van Zandt. TeachRock is the Foundation’s national K-12 curriculum initiative. Created to address the challenges of an environment in which schools face cuts to arts funding, TeachRock includes interdisciplinary, arts-driven materials designed to keep students engaged and in school — a groundbreaking curriculum available at no cost to educators. For more information, visit
- September 12, 2019

While Clarence Clemons: Who Do I Think I Am? is at last available via streaming and home video, the documentary still has a life on the festival circuit as well. Director Nick Mead recently won the Best Director award at the recent Silver State Film Festival, and he's bringing his doc to West London on Friday, where it will screen as part of the Portobello Film Festival.

Clarence Clemons: Who Do I Think I Am? plays this Friday, September 13 at 7:30pm, part of Music Night at The Muse Art Gallery on the Portobello Road. Mead will be in attendance for the free screening and will be doing a Q&A afterwards.

Created in 1996, the Portobello Film Festival has been called "the biggest celebration of independent film in Europe" (The Independent), where festival-goers take in new works in a wide variety of venues. As stated on the festival's website: "At the start Portobello lacked a cinema… and anyway we have never charged admission, which makes screening in commercial cinemas problematic — so through virtue out of necessity, the Festival has screened films in diverse venues like parks, theatres, clubs and bars."

"I love that the films aren't screening in just cinemas," Mead tells Backstreets. "I always got more of a kick out of my films being shown in out-of-the-way places, like across a vineyard in wine county, or at a real music festival like Glastonbury. A film of mine closed that festival in 2014.  So, tenuously — very, very tenuously — you could say I've headlined at Glastonbury. Though I'd deserve a smack in the mouth for suggesting that."

Nick Mead and Clarence Clemons - photograph by Jo Lopez

A showing at the Muse Art Gallery gives Mead a kick for more than just one reason. As a young filmmaker Mead made his first music video for Motorhead, the legendary British heavy metal band, and his credits include the Black Leather Jacket documentary; Portobello brings him back to familiar ground.

"The Portobello Film Festival was and remains the Holy Grail for me," Nick tells Backstreets. "It's around the corner from the Great Western Road, where I worked with Motorhead for years on their film stuff. That was how I got into all this. Motorhead was my film school."

Mead's musical friendships go beyond late greats like Clarence Clemons and Lemmy Kilmister; he also tells Backstreets of Friday's event, "I'm talking to some West London Punk legends who've suggested they may well cover a few Bruce songs after the screening… but we'll see."

In any case, if you're in West London on Friday, it won't cost a dime to check it out. "The cost of admission are the words 'Chris from Backstreets sent me,'" Nick jokes (but tell him hi for us anyway). "It's the first London outing for Who Do I Think I Am?, so I'm thrilled that it's that part of London, and thrilled, being the old lefty that I am, that all the events are free."

For further details, visit
- September 11, 2019 Christopher Phillips reporting


We've previously reported that on the big day, September 23, the new book Long Walk Home: Reflections on Bruce Springsteen will have a launch party at Strand Books in NYC. A few days prior, an event in Asbury Park will also celebrate the publication. Gold Group Enterprises, at 621 Lake Avenue, will be hosting a book preview and signing on Friday, September 20. Three of the book's authors — Jonathan D. Cohen, Daniel Wolff, and Kenneth Womack — will be there for brief remarks and with pens in hand, and you'll find cocktails and light refreshments, too. For more information, visit
- September 10, 2019


The Stand Up For Heroes tradition continues: Bruce Springsteen will return November 4 for his 12th performance at the annual Bob Woodruff Foundation fundraiser. Part of the New York Comedy Festival, the benefit concert usually finds Springsteen interspersing some dirty jokes with his acoustic tunes, on a bill with joke-tellers who do it for a living — this year it's Ronnie Chieng, Hassan Minhaj, John Oliver, and John Stewart. The event (including an on-site auction) benefits and is a tribute to wounded, ill, and injured veterans and their loved ones (you can read more about it here).

Select tickets ($500 and above) are available now, with the rest going on sale tomorrow, Tuesday, September 10, at noon Eastern via Ticketmaster.
- September 9, 2019

This week's TIFF world premiere won't be the only early look at Bruce Springsteen's Western Stars film. Fathom Events and Warner Bros. Entertainment are bringing preview screenings of Western Stars to selected theaters, ahead of the film's October 25 general release.

The preview events are scheduled for October 19 and October 23. Tickets will go on sale to the general public beginning this Friday, September 13. No details have been made available yet regarding which specific theaters will host the preview events, but you can click here for all currently available information, sign up for e-mail notification of any updates, and order your tickets when they become available.
- September 9, 2019 - Shawn Poole reporting

photograph by PJay Plutzer

Springsteen's live archive series serves up a true classic: Passaic 9/19/78

Oh, to be 17 and driving my first car up and down the East Coast following the Darkness on the Edge of Town tour. I was a bit too young to properly experience the Summer of Love, but in 1978 I had the Summer of Bruce. My traveling companions customized a song from the new album for me: "I got a '75 Chevy and it always breaks down…." In between car repairs we saw Bruce Springsteen and the E Street Band in their prime and at the absolute top of their game, night after night.
A few days before that magical summer officially ended, New York-area Springsteen fans were given a special gift. The September 19 show at the Capitol Theatre in Passaic, New Jersey, was broadcast over WNEW-FM. There had been other broadcasts earlier in the tour: we had cassettes of the Los Angeles and Cleveland shows blasting in the car on those road trips. The subsequent Atlanta and San Francisco broadcasts from that tour maintain their own legendary status, but the Passaic show would eclipse them all. After countless bootlegs, that legendary performance is out today, officially released for the first time as the latest entry in Bruce Springsteen's live archive, where it joins the Passaic show from the following night in the series.
Had the Capitol Theatre broadcast been Bruce Springsteen's fifth album, it would have found a well-deserved place alongside albums like the Rolling Stones' Get Yer Ya-Ya's Out, The Allman Brothers Band At Fillmore East, James Brown's Live at the Apollo, and The Who's Live at Leeds as one of rock's greatest live albums. And it sort of has, in spite of never being officially released (until now). Between numerous bootlegs — most notably Pièce de Résistance, a three-LP set that appeared shortly after the broadcast — and the incalculable number of copies traded around the world, the Passaic broadcast is probably in more collections than some commercially released albums.

As bootleg albums go, Pièce de Résistance was unusual. Not only did the sound quality far exceed that of mere mortal bootlegs, but also the performance was stunning. It would not be hyperbole to opine that every song performed that night was captured on the recording in a definitive version. In some cases there is no doubt. ("Prove It All Night," "Racing in the Street." "Thunder Road," and "Because the Night" leap to mind.) The band is flawless throughout.

It was hard to get a ticket before the world heard the September 19 broadcast; now it would be nearly impossible. This was the best advertisement for seeing a Bruce Springsteen and the E Street Band concert that there could be. And that was probably the main reason for five shows being broadcast during the tour.

photograph by Robert S. Bader
The Darkness tour was a game changer for Bruce and the band. Rather than drop old favorites to make room for new songs, the show expanded to a two-set, three-hour affair. The tour had several New York dates — Nassau Coliseum in June, three at Madison Square Garden in August, and three at the Palladium in September — but the three-night stand at the Capitol Theatre that started on September 19 marked the first New Jersey dates. (Apart from a show at Princeton University in November, they would be the only New Jersey Darkness tour dates, in this era before the construction of the periodically renamed arena in the Meadowlands.) It was a homecoming for Bruce and the band, and his 29th birthday was imminent. Fans showered Bruce with gifts each night. (For new listeners, Bruce's remark about "socks and underwear" refers to some of the many projectile birthday gifts that landed on the stage.)
The Darkness tour shifted between arenas and theatres, and the smaller venues — like the Capitol Theatre — added the extra dimension of intimacy. Not just in terms of crowd size, but also the size of the stage. In extant in-house video of the show, the surprising visual aspect is the E Street Band practically bumping into each other on the crowded stage. A front orchestra seat provided a very different mix of the sound. The guitars were extraordinarily loud because the amps — which had microphones in front of them for the house mix — were so close to the seats that they could be heard directly and in the full mix from the P.A. system. The stage at the Capitol was also pretty low, so this added to the effect.   

One of the great joys of the Darkness tour (and several subsequent tours, for that matter) was that any song could randomly turn up in the set list. And being broadcast live on the radio didn't make this any less likely. The rarely played "Meeting Across the River" was dedicated "to the New York City folks that treated us so good at the Garden." Four days earlier at the Palladium, "Kitty's Back" had been played for the first time since 1976; the song's appearance for the Passaic broadcast gave fans a pristine recording of a wild, extended version of an infrequently played fan favorite. The fact that it was played the following night — Nugs released the September 20 concert as an archive series installment in 2017 — in no way minimizes the joy of blasting the September 19 version throughout the decades. Having both recordings makes as much sense as attending both shows — you do it if you can. (Concertgoers on September 20 did not complain when they heard "It's My Life" and "Incident on 57th Street" along with three other songs not played the night of the broadcast.)

courtesy of Robert S. Bader
For a fan lucky enough to score a ticket to the Passaic show, there was little risk of being unable to get a copy of the broadcast. Tapes were rolling everywhere. But taking no chances, I bought a second auto-reverse cassette deck a few days before the show and trained my mother to record the broadcast. With two staggered machines going, there would be no danger of missing anything for a side change. We ran a few drills, and my mom was a natural bootlegger. I wore those tapes out. It didn't take long for the bootleg records to appear, and they would eventually be followed by bootleg CDs. My cassettes have long been retired, but they remain in my personal Rock and Roll Hall of Fame. Thanks, Mom.

But even the best recording of the radio broadcast will pale in comparison to the new official version. The multitrack master tapes have been transferred using the acclaimed Plangent Process and have been remixed to perfection. The September 19, 1978 Capitol Theatre show has now been given the respect it deserves — and sounds like it might have, had it actually been Bruce Springsteen's fifth album all those years ago.
Best Bruce Springsteen show ever? Who can really say? But you would not be ridiculed for giving the honor to that special Tuesday night in Passaic back in 1978. Play it loud. Play it often. It'll feel really good. It always does.

For more on Springsteen at the Capitol Theatre read our 2015 interview with promoter John Scher by Jay Lustig

Also read Erik Flannigan's latest blog entry, "The Boss Comes Home"

- September 6, 2019 - Robert S. Bader reporting

Springsteen features in The Band documentary, premiering today

The Toronto International Film Festival is officially underway today, and while Western Stars won't have its premiere for another week, Bruce Springsteen has already appeared on the silver screen as part of the festival. Once Were Brothers: Robbie Roberston and The Band is TIFF's Opening Night Gala Presentation, and our pal Joe Amodei (of Virgil Films, producer of Who Do I Think I Am?) was there for an industry screening earlier today.

I just saw Once Were Brothers: Robbie Robertson and The Band here at TIFF, and I have to say it’s one of the best documentaries I’ve seen all year. Featuring multiple interviews with Bruce Springsteen along with Van Morrison, Taj Mahal, Martin Scorsese, and Bob Dylan, this look at the formation of the legendary rock 'n' roll group extends all the way through to their breakup and final performance documented by Scorsese in the legendary film The Last Waltz.

Robertson narrates, and what’s amazing about the new film is that it holds back nothing when it comes to the ups and downs The Band went through, including how excessive drug and alcohol use just about destroyed everything they had built. 

Poignant, funny, tearful, and honest, this doc is one to look forward to when it hits the cinema sometime in the future. This is one of the first releases out of the new documentary division of Ron Howard’s Imagine Films, and it is a home run.
- September 5, 2019 - Joe Amodei reporting

Jake Clemons returns September 6 with Eyes on the Horizon

Jake Clemons' Eyes on the Horizon, out tomorrow, is follow-up to his 2017 release Fear and Love. That debut album was an introspective one, with a clear Side A and Side B. As Jake told Backstreets back in 2018, Fear and Love is an intensely internal record that goes to the depths of the psyche. Eyes on the Horizon is a more outward-looking album. Jake still delves into personal relationships, but he takes matters a step further and explores themes on a more global level.

Produced by Clemons and Jake Hull, the album features 10 tracks: nine penned by multi-instrumentalist Clemons, and one cover, of Leonard Cohen's 1992 song "Democracy." Each song is like a chapter in a well-crafted novel: strong enough to stand on its own, yet that much more meaningful when taken together as a whole. What we are given is a cohesive record where the message is found not only in each song's lyrics but in the thoughtful track sequencing.

Much like Fear and Love, Eyes on the Horizon is sonically rich. Jake sings lead on all tracks, his vocal range growing ever more impressive with each release. He plays guitar, keyboards, and of course, saxophone. Add in a full band and some wall-of-sound background vocals, and you have an album that hits all of the notes.

The album opens with "Swan Song," with a swirling tide that builds up to and underlies nearly two verses that set the tone for the entire record. It's a question, a plea, and an explanation. The singer is compelled to move on, to search for a better place. With this song and the record as a whole, Jake sounds like he's crawling out of his own psyche. He's singing about the challenges we are confronted with in the world today. Take notice. It might not be good now, but if we work together, it can be.

The first two singles, "Democracy" and "Consumption Town"" (featuring Tom Morello) were released after social media teasers. Both have accompanying lyric videos created by Billie de Buitléar of Hairpin Productions. "Democracy" is an ultimately hopeful song that is perhaps more relevant now than when it was written. "Consumption Town," featuring images hand drawn on an iPad, is a wake-up call. It sounds the alarm: beware the trappings of our modern, and at times wasteful, click-and-ye-shall receive society. The message is clear — we need to guide the ship.

"Mom Deserves Better" is perhaps the next chapter of Fear and Love's "Janine," Jake's call encouraging us to, in his words, "actively pursue a better, safer environment for us all to live in." (To that end, Jake created The Janine Project in 2017, an online resource for women battling domestic abuse.) The haunting lyric "It was bad when you left her / But worse when you pretended you were still there" has to resonate with anyone who grew up in a household dominated by a strained relationship.

Tracking "Mom Deserves Better" after "Consumption Town" is brilliant. "Consumption Town" is universal — look what all of us are doing to the planet. Everybody's upside down. "Mom Deserves Better" speaks on a more individualized level. Substitute a cheating husband for all of us and a torn family for the planet, and everybody's upside down.

Some tracks are outright full-band rockers, like "¡Ayuda! (When the Sun Goes Down)," which will no doubt be a barnburner when played live. The song opens with Jake shouting "¡Ayuda!" and by the time the band kicks in a few seconds later, you're hooked and ready to ride the wave. Don't let this rocker fool you, the album's theme is still there. The world is screwed up. As Jake sings, "The burden's on me, but the blame's on you!" But I'm going to fix it. You are. We are.

"Nothing Left "is perhaps the least hope-filled song on the record, yet it's still ultimately relatable. Paired with "Regression," which eases in with a soulful sax that underlies the entire narrative, both explore a failed relationship. Sometimes it's completely shattered and gone, other times you are looking for a spark to make you feel something.

photograph by Barry Schneier

What makes this record so critical in these times is that Jake does more than simply tell stories with universal themes. He's punctuated these stories with questions that stay with the listener well after the album is over. To take a spin on a well-known line, music should comfort the disturbed and disturb the comfortable.

As Jake sings in "We, The People": "And who among you is the last to confess / if one of us ain't free, then we're all oppressed?" The second line, as merely a statement, could easily have a home on a sign at a political rally. When taken in tandem with the first line and posed as a question, it takes on a different meaning, requiring self-reflection. This is music that's not telling you what to think but compelling you to think.

In the official press release for the record, Jake singles out the title track "Eyes on the Horizon" as a statement about the need to reach towards something better. "We always have to carry that hope with us. Tomorrow can be a better place for all of us, if we're willing to do the work to get there."

The album closer "Goodnight" features Jake, a piano, and the gut-punch of a last line: "Goodbye is just goodnight this time / so goodnight for the last time / goodnight / goodnight for the last time / goodnight." The listener is left with the haunting finality of the song. And, like all great art, it stays with you long after the record is done.

Clemons will celebrate Friday's release of Eyes on the Horizon with a Saturday night show at the Stone Pony in Asbury Park, NJ, September 7. Visit for tickets and details. Visit for many more upcoming tour dates in support of the new album.

- September 5, 2019 - Anna Selden reporting

Garry Tallent's second solo album, his follow-up to 2016's Break Time, is in stock now at Backstreet Records —  and thanks to GWT himself, we've got autographed copies of More Like Me on both compact disc and vinyl.

Just as Break Time was Garry's tribute to the music he loves from the '50s, his new one is all about the garage sounds of the '60s. As a record collector himself, Garry released a particularly handsome package for the LP, with swirled colored vinyl and a die-cut cover revealing a portion of the inner sleeve (designed by his pals The Delevantes). Both the vinyl and the CD have been signed on the cover for Backstreets customers, come and get 'em!
- September 4, 2019

The Triple Door, Seattle, WA
August 20, 2019

It was a sleepy Tuesday night in Seattle in August, but "fire" broke out twice at the Triple Door club. That's because Max Weinberg's Jukebox came to town, and played not just one, but two songs titled "Fire." The Seattle date was part of the extensive Max Weinberg Jukebox tour (details at

The first of the "Fire" songs was a cover of the Jimi Hendrix classic (for "a hometown guy," Max said). A little later they went into "Fire" by... well, you know the other "hometown" guy, the one Max plays with in his day job. This is an all-request tour, and Max and his band perform in front of a menu listing 300 rock classics by the Beatles, Stones, Kinks, and others. Some requests are shouted out, and for others Weinberg goes out into the audience between songs — though he joked that he could only remember three requests at a time, "because, you know, I am 68."
Max is indeed 68, but his steady muscular playing style might convince you otherwise. On Hendrix's "Fire," for example, he was so spot-on you could close your eyes and think that the young Mitch Mitchell, from Jimi's band in 1966, had come onstage. That song displayed a flashier style than Max often uses in the E Street Band. After playing a Cream song, he recalled the "no junior Ginger Bakers" classified ad that led to his E Street Band audition, but little did everyone know that Max had plenty of Ginger Baker in him, too, if he wanted it.

Weinberg's style, though, has always emphasized the song and melody over drumming flashiness, which served him well in Seattle playing British and American '60s classics. Almost all the selections were from an era of music that Max said shaped him (and, of course, an era that shaped Bruce, and shaped many in the crowd at this show). The musicianship was impressive, as Max and his crack band had the ability to tackle a classic with only a moment's notice. That meant playing "Whiter Shade of Pale" five seconds after someone yelled the title, or pulling off an impromptu "I Wanna Be Sedated."

But it was the stories Max told before and after songs that truly made the night special. In a way he was giving context for where the music fit into his life (and sometimes where it fit into the Bruce canon), but mostly describing why these songs matter in the first place.

After playing "Glad All Over" by the Dave Clark Five, Max talked about seeing that band in Newark as a kid, recalling that at one time they had as many hits as the Beatles at on the pop charts. Clark's name appeared on his drum set — "which made him the boss," Max joked. So when Max led his own band on the Conan O'Brien television show for many years, his own name was on the kit. "If there was ever any debate about a decision," Max laughed, "I'd just point to the name on the drum."

Backstage after the show, Max talked about his health (great these days), the E Street Band, Bruce, what it was like to play in Seattle again ("the center of it all," he laughed, "where Backstreets began!"), but also how challenging it was to appear on a nightly television show for so many years. "This was a demanding show business job, but it's what I've been doing my whole life."

[Right: Max Weinberg and Charles R. Cross backstage in Seattle]

Max had told the audience earlier how he'd been in the E Street Band for 45 years, but backstage there was much more emotion to what that tenure meant. He talked poignantly about what the men missing from the E Street stage meant to him.

"I miss Clarence and Danny every single day," he said. "I don't ever play and not think about them. They were such a part of our band — and they remain such a part of our band — and they remain such a part of my life."

Max also proudly talked about his son Jay Weinberg, of Slipknot. The week Max was in Seattle, Slipknot had just debuted an album at the top of the Billboard rock charts. "Almost no rock bands do that anymore," Max noted. "It's darn hard to sell rock records these days."

His son was a natural, Max said, without a helicopter dad forcing him into music. "I really didn't push Jay. Because of his age (Jay is 28), he didn't see the E Street Band until he was nine, and he didn't pick up drums until a bit later. I was not one of those dads making him practice. But he's incredible, and it's so great to see him at the top of drum magazine polls."

Earlier, during the show, Max had discussed a few of the Bruce songs his band played, but backstage he filled in more of the color of what it felt like simply to be in the studio and to be part of the creation of so many classic songs. "It seemed as if Bruce could go over in the corner of the studio and come back with something incredible an hour later," Max said. On "Dancing in the Dark," the biggest Bruce song in the "Jukebox" show, Weinberg talked about what it felt like to watch Bruce on deadline, trying to come up with a hit at the last minute, and achieving it.

The same was sort of true of "Fire," Bruce's version, which had been one of the highlights of the "Jukebox" show onstage. "Bruce wrote that for Elvis," Max said. "I'm absolutely sure that if Elvis had recorded it, it would have been one of Elvis' biggest hits. It was a perfect Elvis song."

It was, and it became, a perfect E Street Band song (and a near-perfect Pointer Sisters and Robert Gordon song, as well). That word also applies to Max Weinberg's Jukebox, which is a perfect way of attending a "master class." It was a night where you watch and listen to a legend of drums play some of the greatest songs in history, while dishing out backstory on how the work was created.
- September 3, 2019 - Charles R. Cross reporting - live photographs by Rene van Diemen (7/18/19)

The 5 Spot, Nashville, TN

August 27, 2019
There wasn't much advance fanfare, and unless you were checking the venue calendar, you likely missed this delightful musical event... but Garry Tallent made a one-off appearance at Nashville's 5 Spot on Tuesday night, in the 6pm slot. While the room wasn't near capacity, all those who came out sure got their five-dollar cover charge's worth, with a set running nearly two hours.

Making his way onto the low 5 Spot stage promptly at starting time, Garry summoned up the players who he said represented "two of the three bands" that he has played with. This merger of his recent touring band with ex-Jerseyites and Americana pioneers The Delevantes made for an ensemble of mighty musicianship.

Tallent recently released his second solo record, More Like Me, which follows his 2016 debut, Break Time. With two full LPs behind him, there was plenty of material to play, and he and the band wound up playing most of his catalog. However, to make things interesting, the song running order for the night came courtesy of Garry pulling slips of paper with song titles out of a beer bucket!

With all this original music to choose from, it was quite a surprise when the first pick of the night was Eddie Cochran's "Twenty Flight Rock." It did, however, set the stage and show just how strong a band this was. Garry put his bass aside for the evening and played a hollow-body Guild electric guitar and was just one-fourth of the guitar army that included the Delevante brothers.

While Garry isn't known for being a singer, he made quite a fine effort as front man. As expected for an East Nashville event, there were other musicians in the house, and a few made brief appearances on stage. Bill Lloyd and Kristi Rose both shared vocals with Tallent, and Kristi's husband, Fats Kaplin, came on board with both his fiddle and accordion.

Tallent's musical collective really showed its chops on a few instrumentals, one of which was The Ventures' "Walk, Don't Run" that Garry chose when he pulled a "wild card" option out of the bucket. The Delevantes also had one of their songs selected from the bucket — Tallent produced both of their albums in the '90s — and also played another that Garry later requested from them after the bucket had run dry.

The final song of the evening was a redo of Garry's "Charlene," since he felt they didn't do it right the first time (he'd forgotten the words to the last verse). After the successful take, Garry remarked, "I thought we’d have to do them all over!" But that was far from the reality of the night — the band sounded like they had rehearsed for months rather than just getting together on such short notice. It was just another "Only in Nashville" night!

Signed copies of Tallent's new album, More Like Me, will be available in short order from Backstreet Records, on both CD and LP. Stay tuned.

- August 29, 2019 - report and photographs by Michael Bodayle

New book celebrates Springsteen at 70, with 9/23 launch event at Strand Books

With Bruce Springsteen's 70th birthday less than a month away, we're looking forward to the publication of Long Walk Home: Reflections on Bruce Springsteen, due on the big day itself (September 23) from Rutgers University Press.

A collection of essays and testimonials by noted critics, scholars, and fans, Long Walk Home was put together by two editors who know their stuff: Jonathan D. Cohen and June Skinner Sawyers.

Cohen is the managing editor of BOSS: The Biannual Online-Journal of Springsteen Studies. Sawyers is a ace at this sort of thing, editor of numerous anthologies including the crucial Racing in the Street: The Bruce Springsteen Reader and author of Tougher Than the Rest.

Inside, essayists include previous Springsteen book authors such as Eric Alterman (It Ain't No Sin to Be Glad You're Alive), Peter Ames Carlin (Bruce), Jim Cullen (Born in the U.S.A.), Louis P, Masur (Runaway Dream, Talk About a Dream), Frank Stefanko (Days of Hope and Dreams, Further Up the Road), and Daniel Wolff (4th of July, Asbury Park), as well as other fine writers including Martyn Joseph, Greil Marcus, Paul Muldoon, Lauren Onkey, Richard Russo, A.O. Scott, Colleen Sheehy, and Wesley Stace.

On publication day — Monday, September 23 —  NYC's Strand Books will host a book launch, featuring a panel of writers from the book along with editors Cohen and Sawyers. On hand for discussion and signing will be Natalie Adler, Paul Muldoon, Deepa Iyer, A.O. Scott, and Daniel Wolff — nice crew with whom to celebrate Bruce's big day. Visit for more details on the event and to sign up for admission.

If you can't make the Strand event, you can order Long Walk Home from Backstreet Records and save 10% with our pre-order sale price.

Update: a second book launch event will follow the next day, as Sawyers and another of the book's essayists, Ken Womack, will appear at McNally Jackson Books in Brooklyn. Joe Rapolla will be on hand to perform a few Springsteen songs. September 24, from 7pm to 9pm — see the Facebook event for details.
- August 28, 2019

For the Weekend, Boston Globe spotlights Bruce book

When writer James Sullivan contacted Barry Schneier to talk about his new book Bruce Springsteen: Rock and Roll Future for the Boston Globe, Barry wasn't sure what to expect. A former pop music and culture critic for the San Francisco Chronicle and an editor for Rolling Stone, Sullivan also has numerous books to his credit, covering everything from George Carlin to James Brown. Barry was glad to oblige — having had a few mentions in the past of his work in the Globe, he knew getting a little ink about the book wasn't so bad.

Rock and Roll Future's story takes place in Boston and Cambridge, in the midst of a vibrant music scene in the mid-1970s that Barry found himself totally immersed in, watching and photographing new acts as they came through town. One of them was a young Bruce Springsteen. Barry's early witness to his live shows led to an eventual opportunity to open for Bonnie Raitt at the Harvard Square Theatre.

The rest, as they say, is history. It's music history. If you’re a resident of the Boston Cambridge area, it's local history: a testament to serendipitous sequences of events and the notion that, in a town with a hunger for what's new and an audience to embrace it, anything can happen.

So James was looking for something a little bit more this time. Not a quick rehash of a story retold, but a fresh look at something that's been on his radar for a while. When the piece was ready to go to print, he told Barry it would be a big spread. Barry’s reaction: "He said it would be big. Not huge!"

Read "How a Holliston photographer captured the moment
Bruce Springsteen became rock 'n' roll's 'future'"


View/order Rock and Roll Future in our online shop

- August 23, 2019

Fourth archival playlist brings 15 more live tracks to streaming services

If you're looking for love... today brings a new entry to The Live Series, which selects Springsteen tracks from the decades of performances in his live archives to form thematic playlists. Adding to the officially available Springsteen music to stream via Apple Music, Spotify, and others, The Live Series is also a good way to sample the monthly goodness coming from (if you haven't already jumped in with both feet), or just enjoy a well-curated batch of Bruce.

Following Songs of the Road, Songs of Friendship, and Songs of Hope, another 15 live tracks are now on streaming services as Songs of Love.

She's the One
The Roxy, West Hollywood, CA - 10/18/75
4th of July, Asbury Park (Sandy)
Palace Theatre, Albany, NY - 2/7/77
Rosalita (Come Out Tonight)
Madison Square Garden, NYC - 9/21/79
Fade Away
Nassau Coliseum, Uniondale, NY - 12/31/80
I Wanna Marry You
Wembley Arena - London, UK - 6/5/81
I'm on Fire
L.A. Sports Arena, Los Angeles, CA - 4/23/88
Tougher Than the Rest
Madison Square Garden, NYC - 5/23/88
Brilliant Disguise
Shrine Auditorium, Los Angeles, CA - 11/16/90
Human Touch
Brendan Byrne Arena, East Rutherford, NJ - 6/24/93
If I Should Fall Behind
United Center - 9/30/99
For You
Schottenstein Center, Columbus, OH - 7/31/05
Tunnel of Love
Van Andel Arena, Grand Rapids, MI - 8/3/05
Back in Your Arms
Croke Park, Dublin, Ireland - 5/27/16
Secret Garden
MetLife Stadium, East Rutherford, NJ - 8/30/16
Save My Love
Veterans United Home Loans Amphitheater, Virginia Beach, VA 9/5/16

Songs of Love spans more than 40 years, from 1975 to 2016, including numerous performances with the E Street Band, as well as the '92/93 band ("Human Touch") and solo ("Brilliant Disguise" from the legendary Christic shows, and a pair on keys, including a brilliant "Tunnel of Love," from the 2005 Devils & Dust tour). Wear your love without shame and listen now via Apple Music, Spotify, Amazon, Pandora, Tidal, or Deezer.
- August 23, 2019

On Monday night, Little Steven and the Disciples of Soul brought their summertime sorcery to Utrecht's TivoliVredenburg Pandora hall. Our Netherlands-based photographer Rene van Diemen soaked in the sights and sounds, and he shares some images with us here. The Summer of Sorcery tour continues in Europe through early September before returning to the States.

For further reading, see Mike Saunders' recent reporting for us on the Summer of Sorcery Tour as well as the Lilyhammer soundtracks and other Stevie news.
- August 22, 2019 - photographs by Rene van Diemen


Over the weekend, moviegoers taking in the freshly released Blinded by the Light got an extra treat before the feature presentation: a trailer for Bruce Springsteen's Western Stars film. Following that exclusive first look, the trailer is online now.

The 83-minute Western Stars, an "intimate and personal concert film" directed by Springsteen (his feature-length directorial debut) and Thom Zimny, will debut at the Toronto International Film Festival next month. Picked up by Warner Bros., Western Stars will be showing worldwide on the big screen in October.

According to a press release, "Western Stars offers fans the world over their only opportunity to see Springsteen perform all 13 songs on the album, backed up by a band and a full orchestra, under the cathedral ceiling of his historic nearly 100-year-old barn."

Warner Bros. Picture Group Chairman Toby Emmerich says, "Bruce lives in the super rarified air of artists who have blazed new and important trails deep into their careers. With Western Stars, Bruce is pivoting yet again, taking us with him on an emotional and introspective cinematic journey, looking back and looking ahead. As one of his many fans for over 40 years, I couldn’t be happier to be a rider on this train with Bruce and Thom."

Western Stars is "written and performed by Bruce Springsteen, with Special Guest Patti Scialfa. Thom Zimny, Jon Landau, Barbara Carr and George Travis produced the film, with Springsteen serving as executive producer. The original score is by Springsteen." Never too soon to hope for a soundtrack album....
- August 19, 2019

Stevie's busy 2019 continues as the Summer of Sorcery Tour keeps sizzling well into the fall
Following Bruce Springsteen's announcement last December that there would be no E Street Band activity in 2019, Little Steven and the Disciples of Soul returned to the road in April to complete one world tour and begin another immediately afterwards. This is their third consecutive year on the international theater and festival circuit. When the Summer of Sorcery Tour ends at the Beacon Theatre in New York on November 6, they will have played more than 80 concerts this year and clocked up more than 200 since they returned to active service in October 2016.

The Disciples of Soul line-up comprises music director Marc Ribler (guitars); Jack Daley (bass); Rich Mercurio (drums); Andy Burton (B3 organ, synthesisers); Lowell "Banana" Levinger (piano); Anthony Almonte (percussion); horn section leader Eddie Manion (baritone sax); Stan Harrison (tenor sax, flute); Clark Gayton (trombone); Ron Tooley (trumpet); Ravi Best (trumpet) and Jessie Wagner, Sara Devine and Tania Jones (backing vocals).

Their 2019 touring campaign began in Australia and New Zealand, with concerts in Perth, Adelaide, Byron Bay, Melbourne, Sydney and Auckland. The setlists remained largely identical to those of the previous two years but gave hints of the changes to come by cutting "Standing in the Line of Fire" (written for Gary US Bonds in 1984) and adding Little Steven's 1985 anti-Apartheid anthem "Sun City" plus two songs from the soon-to-be-released new album: "Love Again" and "Superfly Terraplane." In addition to their regular theater shows, the Disciples made two appearances at the Byron Bay Bluesfest, headlining the Crossroads stage with a full-length performance on April 18 and playing a shorter set on the Mojo stage on April 20, where they were second on the bill to Ben Harper.

In Sydney, Jimmy Barnes guested on "Ride the Night Away," the song that Little Steven wrote for him in 1985 (which was also covered by Southside Johnny and the Asbury Jukes on their Better Days album and recorded by Steven himself on Soulfire). Barnes remained onstage for "Sun City" and was joined by Peter Garrett of Midnight Oil.

The Auckland show marked the end of the international Soulfire tour. Afterwards, 75 percent of the material that the band had been playing since 2017 was dropped. Only "Love on the Wrong Side of Town," "I Am a Patriot," "Bitter Fruit," "Forever," "Out of the Darkness," and (occasionally) "I Don't Want to Go Home" would escape the purge.

Preceded in March and April by advance preview tracks "Superfly Terraplane," "Love Again" and "A World of Our Own," Summer of Sorcery was released on May 3 to streamers, downloaders and consumers of physical product. It featured 10 new original songs, a re-recording of "Education" from Little Steven's 1989 release Revolution, and "Suddenly You," a Lilyhammer outtake. The vinyl format (a double album with one blank side, like Soulfire before it) was also made available in a limited-edition "psychedelic swirl" option. This was intentional, but approximately 1000 copies that mis-spelled "Litle Steven" on the back cover and on all three labels were accidentally issued in Europe and became instant collector's items. Little Steven's art director Louis Arzonico explained, "an unapproved proof was sent to the main printing plant in the U.K. and that's what was printed. The misprint is on me. It is what it is."

A week after returning from New Zealand, Little Steven and the Disciples of Soul debuted a new psychedelic stage backdrop and reworked setlist with record release concerts at opposite ends of the country. As previously reported, their gigs at the Saban Theatre in Beverly Hills (May 4) and the Paramount Theatre in Asbury Park (8) featured Bruce Springsteen as special guest on "Tenth Avenue Freeze-out," "Sun City" and "I Don't Want to Go Home."

These gigs provided the setlist blueprint for the ongoing shows, which feature the entire new album, the holdovers from the Soulfire tour, "Sun City" and four other new selections from Little Steven's back catalog: "Little Girl So Fine" (from the second Asbury Jukes album This Time It's For Real), "Trapped Again" (from the third Jukes album Hearts of Stone), "Los Desaparecidos" (from Voice of America), and "Camouflage of Righteousness" (from Born Again Savage). In addition, Lowell "Banana" Levinger plays the opening section of his Youngbloods instrumental "On Sir Francis Drake" (a reference to the Marin County boulevard of that name) to introduce "I Visit the Blues."

Now I wanna go to Europe
Little Steven crossed the Atlantic a week later to commence a 19-date European tour, mixing club and theater gigs with shorter festival sets in the U.K. (England and Scotland), Sweden, Norway, Denmark, Belgium, The Netherlands, France, Spain, Germany, Switzerland and Serbia. He began with a six-date U.K. mini-tour that consisted of indoor shows in Liverpool (his third appearance in the birthplace of The Beatles in the last 18 months), Leeds, Glasgow, Bristol, and London, and an outdoor gig at Bearded Theory's Spring Gathering festival at Catton Hall in Derbyshire.

The May 22 Bristol show took place on the same day as the worldwide one-night-only screening of the updated documentary Asbury Park: Riot, Redemption, Rock 'n' Roll. Realizing that ticketholders for the gig would miss the film, Dan French (creator of the Facebook group The Stevie Files), informed the distributors and an additional 5pm screening was added. Those who turned up at the Everyman Cinema that afternoon saw Little Steven both on and off the screen. He made a personal appearance to introduce the movie, spoke for more than six minutes about the Upstage and the Stone Pony years, and invited those without tickets to be his guests at the O2 Academy that night, where he included an encore of The Dovells' "Bristol Stomp" before its spiritual soulmate "Soul Power Twist."

Little Steven also booked Underground Garage Dance Party DJ sets at the Hard Rock Cafes in Glasgow, London, Berlin, and Brussels. In reality, these events rarely feature dancing because they take place surrounded by diners.And while it's fun to imagine Little Steven spinning vinyl 45s on twin turntables, an assistant plays the music on a laptop while he announces songs, provides background information, signs autographs, and poses for photos. He was joined in Glasgow by various band members, celebrating his guitar technician Ben Newberry's birthday.

Indoor gigs continued in Berlin, Stockholm, Oslo, Hamburg, Brussels, Zurich, Milan, Barcelona, and Paris, with outdoor appearances at the Jelling Musikfestival (Denmark); the Hello Festival (Netherlands); the Music Legends Festival (Spain) and the Arsenal Festival (Serbia). The audience at Alcatraz in Milan on June 13 was particularly enthusiastic, earning an additional encore of the rarely performed (on this tour) "I Don't Want to Go Home." Stan Harrison missed this show to attend his daughter's graduation and was replaced by Baron Raymonde.

Back in the U.S.A.
Only five days after ending their European tour, Little Steven and the band began four weeks of North American shows, kicking off with appearances at The Memorial Park Concert in Omaha, Nebraska (June 28) and the New York State Blues Festival in Syracuse, NY (29).

They subsequently crossed the border for a five-date Canadian tour, appearing at the RBC Bluesfest in Ottawa and the Festival D'Ete De Quebec in Quebec City before moving indoors for gigs in London, Montreal, and Toronto. Garland Jeffreys and local resident Jake Clemons guested at L'Olympia in Montreal on July 8 for "Sun City." A series of east coast gigs followed, taking the band from Buffalo, NY to Richmond, VA. They ended this leg with a set at the Outlaw Jam near Annapolis, MD on July 28.

A performance at the Upstate Concert Hall in Clifton Park, NY on July 14 was cancelled because of a "scheduling conflict." Ticketholders were offered the chance to see Little Steven at the Orange County Fair in Middletown, NY on July 22 as an alternative, until that appearance was also cancelled due to storms and flooding in the area.

Although Summer of Sorcery includes political content, its primary focus is on community, common ground and (to quote Sly and the Family Stone) having Hot Fun in the Summertime. This ethos is reflected in the current concerts, which begin as the Disciples vamp the intro to "Communion" while the horn section and backing singers (carrying brightly colored parasols) march onstage. They end almost two-and-a-half hours later when the musicians take a bow after the final encore, "Out of the Darkness," and include various magical moments inbetween, including the three-song "Southside set" ("Little Girl So Fine," "Trapped Again" and "Love on the Wrong Side of Town").

As Little Steven has explained, each song on Summer of Sorcery is a fictional movie scene, featuring a different character. Illustrating this, at the beginning of "Love Again," the 14 personalities in the band intone individual lines of an introductory tale that encapsulates the essence of the show and explains that they will be the audience's tour guides for the night, transporting them "as if by wizardry" to a "romantic fantasy land called summer," where "the past, the present and the future reside in the same space," where there is common ground and communion with nature and where they will experience their "first summer of consciousness," "the thrilling tingle of unlimited possibilities," and "the universal meditation, medication and motivation of the magnificent magic of music."

Little Steven and the Disciples of Soul will be dispensing great music and good vibes on the road for another three months, and they demand and deserve your attention. Social media is awash with glowing reviews of their exciting, high-energy concerts. Even band members have been extolling the virtues of the album and tour and celebrating their involvement. Andy Burton recently said, "The band is tighter and more together than ever, on and off stage."

The thrilling tingle of unlimited possibilities continues
The band began a second European tour with an appearance at the Notodden Blues Festival in Norway on August 3. The 15-date itinerary includes return visits to the U.K. (with shows in Manchester, Oxford, Newcastle and Cardiff), Germany (Erfurt, Hanau and Nuremberg), Denmark and The Netherlands, plus additional performances in Ireland, Poland, Hungary and Monaco. A planned show in Luxembourg has now been cancelled. The tour concludes with a concert in Vienna, Austria on September 2. In addition, Little Steven will host an Underground Garage Dance Party at the Hard Rock Café in Manchester on August 20 and will broadcast his weekly Underground Garage radio show live from Tower Records in Dublin on August 22. Matt McDonald, who played on "I Visit the Blues" on Summer of Sorcery, is deputizing for regular Disciples trombonist Clark Gayton on this European leg.

A second North American tour begins on September 7 and will run for two months. Opening in Ventura, CA, it will wind its way to New York via Tucson, Austin, New Orleans, Atlanta, Detroit, Chicago, Cleveland, and beyond. There will be a sixth Canadian gig in Winnipeg, an appearance at Elvis Presley's Graceland in Memphis, and festival sets at the Big Blues Bender in Las Vegas, Kaaboo Del Mar near San Diego, and Bourbon & Beyond in Louisville.

Little Steven's New York show on November 6 (which also features Peter Wolf and the Midnight Travellers) could potentially be his last with the Disciples of Soul for some time if a new E Street album and tour materialize in 2020, so anyone who has yet to experience this amazing band in full flight is strongly advised to attend their nearest gig forthwith and without hesitation. The band hit the ground running in April and have improved exponentially ever since, so catch 'em while you can. A shimmering, sun-soaked, soul-deep, superfly sensation is guaranteed.

Check for full information and concert listings. Teachers are eligible for free admission.

Visit The Stevie Files unofficial Facebook group to apply for membership (3,500 and counting). It's a fascinating forum for information about Little Steven's past and present activities, with nightly fan reports from the current tour.

Soulfire Live! is being aired on U.S. public television stations this month. Check local listings for details.

- August 15, 2019 - Mike Saunders reporting


Today, spotlights Barry Schneier's Bruce Springsteen: Rock and Roll Future, which Backstreets published earier this year, with the history behind Schneier's photographs and a look inside the book.

Rolling Stone's Andy Greene notes that the story of Springsteen's May 9, 1974 performance at Harvard Square Theatre, and the subsequent Real Paper rave by Jon Landau, is one that "has been told many times. What’s far less known is that a young photographer named Barry Schneier was perched near the stage that night, snapping gorgeous photographs of the early show and the late show along with the soundcheck."

In addition to an annotated gallery of ten Schneier photos — rare shots of Bruce and the short-lived Davey Sancious/Boom Carter era of the E Street Band, all from that night — Greene interviewed Backstreets publisher Christopher Phillips about how the book came together to present "the only visual record of the historic evening."

Bruce Springsteen: Rock and Roll Future is available in standard hardcover and exclusive slipcased editions direct from Backstreet Records.

View/order Rock and Roll Future in our online shop

Read "The Night Bruce Springsteen Became 'Rock and Roll Future'"

- August 13, 2019

Springsteen on Sunday: same Boss time, new Boss channel

For more than 15 years now, DJ Tom Cunningham has been spending his Sunday mornings enlightening and entertaining fans of Bruce Springsteen and Jersey Shore music with his weekly radio show. Featuring thoughtful playlists of Boss tunes both studio and live, as well as smart interviews with regular guests from E Street and beyond, Tom's long-running Bruce Brunch program has brightened many a Sunday morning in Jersey (and streaming online) since 2003. It's appointmemt listening.

The knowledge Cunningham brings to his broadcasting is off the charts, as is the kindness he's shown us every time he's played host to someone from Backstreets. So it would be with much sadness that we have to tell you the Bruce Brunch on 105.7 The Hawk has come to an end... if Tom weren't picking up right where he left off with a new show called Springsteen on Sunday.

As of this coming Sunday, August 18, Cunningham will host Springsteen on Sunday in his familiar time slot from 9am to 11am, now on 107.1 The Boss. Station VP of Programming Jeff Rafter says, "It is an honor and privilege to have Tom bring his show to 107.1 The Boss. The station is at the heart of the Jersey Shore music scene, Springsteen on Sunday is a perfect fit. We can’t wait to get started."

Tom can't wait, either: "I'm excited to begin the next chapter of my radio adventure. To be able to share this music and culture continues to be an incredible gift. I look forward to jumping in with both feet."

With more than 40 years under his belt in the music and radio biz, Cunningham is the Hot AC Editor at the All Access Music Group, and he has held National and Executive promotion posts at Reprise, Jive, Universal, and Vanguard Records. He worked at heritage New Jersey radio station WPST in his hometown of Trenton from 1979 to 1989 and began his broadcasting career while still a student at the University of Dayton.

If you haven't spent any Sunday mornings with Mr. C., there's no time like the present: 107.1 has a greater broadcasting reach, so those in Asbury Park will be able to tune him on their radio dials, and anyone can stream the station online or via a dedicated app.

Congratulations and best of luck at your new home, Tom —  long may you run!
- August 12, 2019

Documentary coming 8/13 as a digital download and 8/27 on physical media, with special Backstreets offers for both

In the works since before his death more than eight years ago, a film that was a passion project for the Big Man himself, the documentary Clarence Clemons: Who Do I Think I Am? is finally coming home.

While Clarence got to see a version of this film on the big screen when it premiered at the Garden State Film Festival in 2011, his death prompted friend and director Nick Mead to continue working on the film, going beyond its original meditation on their trip to China that inspired a “transcendent awakening” and becoming a tribute to the life and work of the Big Man.

Featuring new interviews with fans and friends including Nils Lofgren, Jake Clemons, President Bill Clinton, and even some of us at Backstreets, the documentary screened in its final form at the Asbury Park Music + Film festival earlier this year.

This month, Who Do I Think I Am? will get a Blu-ray/DVD release from Virgil Films on August 27. As a digital download, the film will be available even sooner: this Tuesday, August 13. We have special offers for Backstreets readers, for either format you choose:

Physical Media: Along with the Blu-Ray + DVD pack, we'll be sending a BONUS DVD to our customers. Virgil Films has previously released other documentaries of interest to Backstreets readers on DVD, including a Light of Day documentary called Just Around the Corner: The Bob Benjamin Story, and A Good Life: The Joe Grushecky Story (which includes a bonus CD of live tracks with Bruce Springsteen). Choose one of these titles as a FREE add-on when you pre-order Who Do I Think I Am? from Backstreet Records.

Digital Download: If you'd prefer to download the HD film from, where it can be pre-ordered now, we have a special discount for Backstreets readers. Click the "Use Coupon" box and enter the the coupon code backstreets to save $4, bringing the digital-only price down from $12.99 to $8.99.

Clarence Clemons: Who Do I Think I Am? will also be downloadable (without the Backstreets discount) from other DSPs including Apple and Amazon.
- August 11, 2019

With the soundtrack to Blinded By the Light comes, at long last, the official release of Bruce Springsteen's "I'll Stand By You." The song was written for a motion picture years ago but has found its place in another, one that's even more apropos — and opens wide in the U.S. next week. Listen above.

For additional details and full track listing, see the Blinded By the Light soundtrack in the Backstreet Records shop, where ordering is available for both CD (just out) and vinyl (coming August 30).
- August 10, 2019


August archive set reaches for landmark '86 acoustic benefit performance
Bruce Springsteen's appearance at the 1986 Bridge School Benefit helped inaugurate a San Francisco Bay Area cultural institution and marked the first major acoustic set of his career. The ten-song survey performance, released as the August installment of Springsteen's live archive series, showed that his music could go over just as well in a smaller format — whether by himself, in a trio, or with guest musicians on one song — as it could in full blast with the E Street Band. And as a first step, the Bridge helped set the stage for later mastery, from the two Christic Institute shows in 1990 to the 236-night run of Springsteen on Broadway.

Right up to showtime, conventional wisdom suggested that Nebraska material would make up a significant part of Springsteen's performance. But the spirit of the event called for a well-rounded set, and mostly the music sounded celebratory. Springsteen dedicated a beautiful "Follow That Dream" to Bridge School co-founders Neil and Pegi Young. CSNY lent harmony and more guitars to a loose version of "Hungry Heart." Nebraska got one song; Born in the U.S.A. got four.

Nils Lofgren, who played his own set earlier in the evening, accompanied Springsteen, as did Dan Federici. The trio had rehearsed in New York, but there are still rough edges — well within the range of expectations for a one-nighter in an off year, and an acoustic one to boot. Bruce's coffee house days long behind him, the format would take some getting used to, particularly what had to happen between songs: guitar changes, finding the right harmonica, volume issues, and tuning — they seemed to come at him like the Plagues of Egypt. But Springsteen maintained his poise, even calling on Phantom Dan for accordion interludes ("Lady of Spain" won't you come out tonight?) to fill the gaps.

Springsteen arrived in the Bay Area with a small fleet of guitars, as photographer and Neil Young aide-de-camp Joel Bernstein recalled, "desperately needing new strings to be stretched and tuned (by me) in time for Bruce to do a soundcheck before doors." A handwritten setlist shows eight of the ten songs; Springsteen would add "Mansion on the Hill" midway through, and to begin he reached for something truly audacious: an a capella version of "You Can Look (But You Better Not Touch)" — snapping his fingers, moving in place, and looking quite relieved as he stepped away from the mic at its conclusion.

Another adjustment: the physical aspect of performing seated. Save for the odd piano number in the '70s, Springsteen had spent the entirety of the E Street era playing and singing while standing. He made use of the stool for the first half or so of the Bridge performance, before using "Fire" as a dramatic turning point (seen in the official video that accompanied the single from Live/1975-85) and staying on his feet to the end.

But if singing is supposedly more difficult while sitting, this night's versions of "Born in the U.S.A." and "Seeds" hardly suffer: they find Springsteen in good voice and accentuating lines and verses in ways he hadn't when backed by the E Street Band. Moreover, the reworkings of these two songs on this recording are unique.

Introducing the former as a song about a "snake that came around and began to eat its tail," Springsteen took the first shot at reintroducing his most famously misunderstood song. From the mold of his 1982 home demo, the arrangement Springsteen cops here is slower, slightly more melodic, and features a vocal that pushes the meters well into the red. The audience sounded stunned by the performance — applause afterward was akin to "what on Earth was that?"

"Seeds" borrows the tune that carried the Born in the U.S.A. outtake "Rockaway the Days." Springsteen plays off the upbeat musical motif, building each verse until his vocal breaks like a giant wave in the fifth. Whether on this count or the parts Danny and Nils added, the reimagined version could have easily carved a place for itself on Live/1975-85 (which came out a month later).

Near the top of the program, Neil Young had invited Springsteen to sing on "Helpless," and he returned the favor to close Bruce's set, joining Crosby, Stills & Nash as guests on "Hungry Heart." Today's release omits two Springsteen appearances — "Helpless" and the concert's "Teach Your Children" finale. ("Fire" and "Born in the U.S.A." have appeared officially before; the latter leads the 25th Anniversary Edition.)

A year after the Born in the U.S.A. tour, an acoustic concert was something few people anticipated — precisely what motivated Pegi Young to invite Springsteen. "I thought that if he was anything like me, he'll want to do something completely the opposite," she told Rolling Stone in 2011. That was kismet: if Springsteen was trying to rebuild after the massive success of Born in the U.S.A., turning down and swapping the solid-body guitar for hollow-bodied ones was a good start.

This first-year line up was a doozie: Neil Young, Crosby, Stills, Nash & Young, Nils Lofgren, Don Henley, Tom Petty, and Robin Williams all appeared. Later Bridge concerts included just about everybody in popular music, from Jerry Garcia and Bob Weir to Eddie Van Halen and Sammy Hagar, David Bowie to Patti Smith, Brian Wilson to John Lee Hooker, Los Lobos to Foster the People, The Who to Pearl Jam, and Tony Bennett to Paul McCartney. Springsteen played the Bridge a second time in 1995.

Though the series ended in 2016 (and Pegi Young passed away in January of 2019), The Bridge School continues to educate children with "severe speech and learning impairments" — giving them the tools to foster "participation through communication," as Pegi Young wrote in her 2017 letter announcing the end of the annual concert. Two dollars from each sale of today's new release will benefit their ongoing work.

Also read: Erik Flannigan's latest blog entry, "The Snake That Came Around and Began to Eat Its Tail"

- August 9, 2019 - Jonathan Pont reporting

Springsteen helps celebrate the Asbury Park premiere of Blinded
Hollywood came to Asbury Park Wednesday night with the official premiere of Blinded by the Light, the Gurinder Chadha film based on Sarfraz Manzoor’s memoir, Greetings From Bury Park. Next to the shop where you can normally buy a DOWN THE SHORE, EVERYTHING’S ALL RIGHT sign was a phalanx of bright lights and cameras alongside an honest-to-goodness red carpet arrayed on the floor of the Convention Hall arcade.

As a live karaoke band at the north end of the arcade played an enthusiastic rendition of “Blinded by the Light,” various actors and actresses made their way down the carpet, striking poses and stopping to speak with journalists. The excitement reached an audible pitch with the arrival of the core cast members, along with the author and director. Actor Aaron Phagura, who plays the role of “Roops,” the friend who introduces our hero Javed to the gospel of Springsteen, told Backstreets how overwhelming the whole experience was, and how he still listens to Bruce.

L-R: Aaron Phagura, Sarfraz Manzoor, Gurinder Chadha, Viveik Kalra

Diehard Bruce fan, Backstreets reader, author and screenwriter Manzoor made his way down the carpet. “All these people are here, to watch a film based on my teenaged life,” as Saf told Backstreets, “This is kind of hard to work out that this is all because of something I did when I was 16!”

At that moment, there was a huge cheer from the other end of the red carpet, and the crowd and the cast went collectively bonkers at the arrival of a very tanned and relaxed Bruce Springsteen. Dressed in his trademark black pants / black shirt / black jacket / (no tie), Bruce was accompanied by Ms. Patti Scialfa, also rocking the all-black.

Viveik Kalra, who plays Manzoor’s character in the film, dropped to the carpet and began the “I’m not worthy” motion. Bruce and the Missus greeted Manzoor, Chadha, her children (including a tiny daughter dressed in an exact copy of her mother’s blue lace gown), Kalra and Phagura. Chadha’s husband was live-streaming the glorious chaos on Facebook Live.

The red carpet basically came to a crashing halt after that, as the Springsteens made their way into the Paramount along with the rest of the fans, friends, family, and other invited guests. The audience was greeted with free drinks and popcorn as people made their way to their seats. Inside the Paramount was a specially constructed sound system along each side of the theater, a thoughtful detail that ensured that the critical part of the film — all seventeen Springsteen songs — would be heard at the appropriate volume.

There was a definite celebratory feel to the entire experience: Viveik Kalra went up onstage and did a gleeful live-action version of the jump that’s featured on the movie poster; Bruce and Patti took their seats in the middle of the house to wild applause and many iPhone flashes; Gurinder Chada welcomed and thanked us all, reminding us to please be sure to go see the film opening weekend, August 16, to help give them a much-needed push.

Being able to see the film in Asbury Park, in an audience of locals and other people who just get it was a surprisingly emotional experience. Folks were not shy about applauding, cheering, or laughing uproariously at key moments. (No one is going to be cheering Monmouth College or the Jersey Freeze anywhere else.)

At the film’s conclusion, invited guests walked across the arcade into Convention Hall, set up for the afterparty. There was cold beer at a very reasonable (free) price, Shore culinary delights such as pizza and chicken fingers, and, at the back of the hall, on the stage, a curious assemblage of rock 'n' roll instruments, with a drum set featuring the Asbury Jukes logo, and a curious amp of certain vintage tilted backwards, with a cream Telecaster sitting beside it.

After a welcome from Chadha, Southside and the Jukes, accompanied once again by Bobby Bandiera, strolled out and performed a half a dozen Jukes favorites, including “Angel Eyes” and one of Steven Van Zandt’s best songs, “Forever.”

The crowd was rocking out to “Talk to Me” when from the wings emerged one B. Springsteen, accompanied by his wife and fellow vocalist Lisa Lowell. Bruce picked up the aforementioned cream Telecaster and got down to business, trading verses and lines with Southside, and grinning from ear to ear.

At the conclusion of “Talk To Me,” there was a spirited discussion about what would be played, when it would be played, and what would be played at the end, as well as what key the actual next song would be in — which turned out to be that good ol’ Wilson Pickett chestnut, “634-5789,” with Bruce and Southside sharing soul shouting duties. This was followed by “Sherry Darling,” and no one had to be encouraged to make as many loud party noises as they could, the audience singing, "HEY HEY HEY / WHAT YOU SAY / SHERRY DARLING!" as loud as possible.

Bruce told Southside he had to go, nodding in the direction of the wings, which kicked off the only possible conclusion to this guest appearance [click here for full video] with echoes of Sam Cooke, echoes of vintage Asbury Jukes, echoes of vintage Asbury Park: “Havin’ a Party,” complete with guitar solo from the Guitar Slinger of Central Jersey. Waving goodbye, Bruce and Patti took their leave, the Jukes continued to play, and the afterparty kept on going, another magical Convention Hall night for the memory books.
- August 8, 2019 - Caryn Rose reporting - photographs by Mark Krajnak/JerseyStyle Photography


Plans from many corners are in motion to mark Bruce Springsteen's 70th birthday next month, including the publication of Long Walk Home (Rutgers University Press), the Springsteen: His Hometown exhibition in Freehold, and a series of parties from our pals in the Pink Cadillac Club. Another to add to the list: an exhibition in Greenwich, CT that will display some Boss images courtesy of an esteemed group of concert photographers, many of whom have shot for Backstreets over the years.

"Growin' Up: Bruce Springsteen at 70" opens on Thursday, September 19, at and runs through Sunday, September 29 at C. Parker Gallery, 409 Greenwich Avenue. Photographer Debra Rothenberg will be among those artists present on opening night, and she'll be signing copies of Bruce Springsteen In Focus, 1980-2012.

The exhibition will include images from Springsteen's earliest days performing in the Philadelphia area — rare, unpublished 1972-1975 photographs from the late great Phil Ceccola (whose work you've seen on the cover of Tracks and elsewhere).

Rene van Diemen shot the above in Rotterdam in 1981; he'll have images on display ranging from '81 to 2006. Additional fine photographers in the exhibition include Guy Aceto, Rocco Coviello, David Denenberg, and Jeff Ross.

In addition to the photographs (all of which will be for sale), gold records, signed memorabilia and artwork will also be on display to celebrate Springsteen's 70th. Visit for further details.
- August 5, 2019 - photograph by Rene van Diemen

While new installments in Bruce's live archive series have been remarkably consistent, appearing regularly on the first Friday of each month, it seems inevitable that there would be a hiccup here or there. Today, a note from says we've got to wait a little bit longer for this month's title:

This month's release in the ongoing Bruce Springsteen live archive series will be slightly delayed due unforeseen scheduling issues. Rest assured our August release will be out soon. Normal First Friday timing will resume in September.

Hey, you dive deep enough into the vault, you gotta be careful you don't get the bends. Watch this space for details as soon as the new set surfaces.
- August 2, 2019

SVZ & Disciples of Soul in Brussels, June 7, 2019 - photograph by Rene Van Diemen

Stevie releases Lilyhammer score, plans retrospective set and live document of 2019 tour, praises Western Stars, and speculates about future E Street activity

As if playing 80 gigs in six months with the Disciples of Soul wasn't enough — and the tour is ongoing — Little Steven has also been busy with other projects, including a compilation of highlights from a unique body of work that he recorded earlier this decade.

Van Zandt's involvement in the Norwegian/American TV series Lilyhammer extended far beyond taking the starring role of Frank "The Fixer" Tagliano, a New York mobster in the witness protection programme who'd been relocated to the Norwegian town. During its three-season, 24-episode run from 2012 to 2014, he was also credited as a co-writer and co-producer, directed the final episode, and composed most of the score. He's known for blending rock and soul, but on Lilyhammer, he brought together the disparate worlds of New York jazz and Norwegian folk music.

Lilyhammer The Score, a two-volume collection of Little Steven's soundtrack material was released on July 12 via Wicked Cool/UMe. It was credited to Little Steven and the Interstellar Jazz Renegades, a loose collective of some of New York City's finest session musicians, led by award-winning pianist, arranger, and orchestrator Lee Musiker and including current Disciple of Soul tenor sax and flute player Stan Harrison. Arranged and produced by Little Steven (who plays guitar on all but one track), the music was laid down at Renegade Studios in New York and at other studios in Norway. It was recorded, mixed, and co-produced by Geoff Sanoff and mastered by Bob Ludwig.

Volume One, Jazz, features 13 jazz tracks, a mixture of original songs, instrumentals, and standards (Little Steven sings lead vocals on "All of Me," Ring-a-Ding Ding" and "My Kind of Town").

"I figured I've got some of the most talented musicians in New York City, so why waste them on 15-second cues," he explained. "We decided to have some fun. I wanted to try something different and let these guys, who were used to reading their parts, express themselves for a change. We would basically arrange it on the spot. It was wild and extremely fruitful. After the success of the first session, I knew we had a legitimate jazz album in addition to an incredible score."

The genre-hopping Volume Two, Folk, Rock, Rio, Bits and Pieces, collects 36 tracks, ranging from short cues to full songs. Titles include "African Dawn," "Toboggan Negotiation," "Tandoori Epiphany," "Mojito," "Killer Surf" and a complete overhaul of "Out of the Darkness" that transforms it from a rock anthem into a bittersweet instrumental.

Two sampler tracks preceded the two albums in June: "Lilyhammer Nocturne (Theme from Lilyhammer)" premiered via JazzTimes, and the bluesy rocker "Espresso Martini" premiered via Ultimate Classic Rock. There is also a video that features Steven's performance of "My Kind of Town," plus memorable scenes from across the series.

Lilyhammer was the first Netflix series to feature original content and was reportedly watched by one-fifth of the population of Norway.

"I'm really proud of the music I created for it," said Steven. "This was especially rewarding because it gave me the chance to finally do a score completely. This was a full commitment. I loved doing it and experimenting with sound, putting it to pictures and seeing what effect it has. It was a lot of fun."

Little Steven still plans to make his out-of-print solo back catalogue available in a remastered retrospective boxed set, but the previously-stated release date of September may now have been pushed back. When asked recently about his albums, he tweeted, "It's all coming, end of the year." The collection should include Men Without Women (1982); Voice of America (1984); Freedom, No Compromise (1987); Revolution (1989) and Born Again Savage (1999), plus the anti-Apartheid album Sun City (1985). It will also feature "great extras," which will comprise "outtakes, extended 12-inch mixes, DVDs of key representative shows, and interviews from each album."

It's purely speculation at this stage, but additional content may include the following:

  • Duke Ellington's instrumental "Caravan" (a 1983 B-side)
  • "Rock 'N' Roll Rebel" (recorded and played live in 1983, but never released)
  • "Vote That Mutha Out" (a stand-alone single released before the 1984 Presidential Election)
  • Little Steven's 1985 original solo demo of "Sun City" (which eventually grew into the all-star album)
  • "The Time of Your Life" (recorded with Bon Jovi for the Nine Months soundtrack and released as a single in 1995)

One set of songs that apparently won't be featured is Nobody Loves and Leaves Alive, an album that Steven made with unknown musicians in the '90s as The Lost Boys. Two concerts that are deserving of inclusion in DVD form are those that were broadcast on the German Rockpalast TV show in October 1982 and August 1984.

Bruce Springsteen's revelation that he's written an album's worth of material for the E Street Band suggests that Little Steven's tour-closing New York show may be the last with his own group for the foreseeable future. "I booked the tour until November 6. I wanted to leave room in case Bruce wants to do an E Street album and tour," he recently told the Ottawa Citizen. "We'll talk about that in a couple of months but regardless of whether I go out with Bruce for a year or two or not, I'm going to find a way to keep the Disciples of Soul together because I intend to do more records and more touring. I give Bruce first priority of course, but I do want to keep this together."

Speaking to The Wrap, Little Steven expanded on his love of Springsteen's Western Stars: "He's so versatile and has a wide range of talent when it comes to his artistic vision and it's always interesting when he picks a new hybrid genre to explore. I thought it was wonderful." Steven emphasized that he was "planning on the possibility" of Bruce wanting to record a new album and take it on the road, even though he admitted that circulating rumours are "still rumblings and we'll see what happens." Somewhat optimistically, he added, "we will have time to do it in November, December, be able to deliver it in January and be out in the summer of 2020," adding cautiously, "if that's what he wants to do."

Finally, fans who've asked Little Steven on Twitter whether his current shows are being filmed or recorded received this reply: "There will be a live documenting of this year's tour eventually. Like the last." Watch this space.
- July 31, 2019 - Mike Saunders reporting

GWT launches his second solo album, More Like Me, in Nashville

Rock and Roll Hall of Famer and E Street Band member Garry W. Tallent put his talents on display as he and his four-piece band played a pre-release party (with free beer!) at Grimey's Record Shop in Nashville, Tennessee on Saturday, July 27.

Garry was personable and welcoming during the seven-song set that featured tracks from the forthcoming More Like Me from the D'Ville Record Group. Garry advised that Springsteen completists would be interested in "Dirty Rotten Shame," which contains backing vox from his boss. Garry was available to sign merch for a substantial line of fans following the show.
- July 30, 2019 - report and photographs by Rockin' Rich Lynch

First-come first-served, with BACKSTREETS promo code

On August 7, Blinded By the Light will premiere at the Paramount Theatre in Asbury Park, NJ, in advance of its August 16 wide release. An afterparty will follow, just down the street at the Stone Pony.

Thanks to Warner Brothers, and Sony/Legacy (which is releasing the film's soundtrack), we can extend an invitation to Backstreets readers for the evening's events in Asbury. Tickets are availabe on a first-come first-served basis; the promo code BACKSTREETS will give you priority access when you sign up for tickets here.
- July 26, 2019


If you always thought that Tilly — Asbury Park's iconic clown face originally painted on the Palace Amusements building — was a little creepy, you won't be surprised to find that the Joker has found some kinship there. Reader Bob Capella wrote to fill us in on the new issue of Detective Comics, released yesterday. In issue #1008 of the long-running Batman title, writer Peter J. Tomasi and artist Doug Mahnke clearly have Springsteen (and Asbury Park) on the brain with a story titled "Greetings From Gotham."

Capella describes the action: "The Joker challenges Batman to come to their 'Favorite Amusement Park by the Sea,' where the Joker is holding parkgoers and vendors hostage with venom-releasing necklaces shaped like none other than Tilly. When Batman finally appears, it's in front of a wall painting of Tilly, in the classic color scheme from Asbury's Palace Amusements — a nice full-page piece of artwork."

"Joker goads Batman into, yes, riding the rides (one of which is the Tunnel of Love) or he'll blow the place up. Joker also appreciates the seaside resurgence as much as anyone: 'Doesn't the park look great? They spruced it up since the last time we were here, like new!' 

Look for further easter eggs, like Batman's fortune from a boardwalk fortune-telling machine: "Hearts of Fire Grow Cold." Detective Comics #1008 is out now, released July 24 from DC Comics.
- July 25, 2019

Daniel Wolff on Asbury Park: Riot, Redemption, Rock 'n' Roll

In his 2006 book, the authoritative and entertaining 4th of July, Asbury Park: A History of the Promised Land, Daniel Wolff traced the Jersey Shore town over more than a century, finding a throughline in its music and its racial, societal, and economic tensions, also suggesting the story of America in microcosm. After a recent viewing of Asbury Park: Riot, Redemption, Rock 'n' Roll, Wolff shared with us his perspective on the documentary's version of history.

Asbury Park: Springsteen: America. You can switch the order if you want, but that's the equation. And it's not by accident. In 1871, when James Bradley founded Asbury Park, he conceived of the little New Jersey shore town as an all-American vacation land with all-American values. A century later, when an ambitious young singer/songwriter moved there, it was not only a city with clubs to play and a pool of gifted musicians, but it offered a built-in metaphor: "the boardwalk life" was America writ small.

The new feature-length documentary, Asbury Park: Riot, Redemption, Rock n' Roll, gets the equation, too. And for the first two-thirds of the film, it gives us valuable American history. Most importantly, it includes the city's West Side as a key element in the story. When Bradley bought a mile of Jersey shore and filled it with streets, hotels, churches, the half mile west of that, inshore and across the tracks, became home to the people who maintained those institutions: African Americans, Italians, Jews who ran the shops, dug the ditches, cleaned the hotel rooms.

It was a service economy before the term had been invented, and the film points out that the West Side developed its own culture, separate and unequal. Focusing mainly on music, Asbury Park highlights clubs that hosted African American jazz and blues. While tourists from the shore found their way west for the hot music, boardwalk clubs — and the boardwalk itself — was white only. Bradley explained it as a business decision: he wouldn't let Italian immigrants on the beach, either, or "any impecunious class."

The film's version of history leaves out the presence of the KKK in Asbury to jump to the early '70s and the Upstage Club, where white and black musicians jammed together. Here's where Springsteen met Steve Van Zandt, "Southside" Johnny Lyon, and future members of his E Street Band. The Upstage was a fragile outpost: African Americans like David Sancious made it eastward across the tracks, but they were exceptions to the city's rule of segregation, which extended from the beachfront to the public schools.

Then, the film claims, it all went bad. According to an accompanying press release, "Asbury Park erupted in flames during a summer of civil unrest, crippling the town for the next 45 years and reducing it to a state of urban blight." Springsteen climbs to the top of a water tower to watch the West Side burn; Van Zandt calls it a bad moment; Lyon and bassist Gary Tallent mourned the loss of the R&B record store. All make an effort to understand the decades of neglect that led up to people burning their own neighborhood. In the end, it looks and sounds more like rebellion than riot. As the film illustrates, if there was a riot in Asbury Park, it was by state troopers, who ran amuck with tear gas and rifle fire, brutally defending the white boardwalk and business section.

But it's wrong to say that's what crippled the city. Springsteen made a career chronicling the forces that emptied cities across America between the 1970s and the 1990s. In "My Hometown," he sings that "fights between the black and white" were part of the problem, but they're also "closing down the textile mill." Elsewhere, his music recognized the larger economic problem "from the Monongahela valley to the Mesabi iron range." Asbury Park was no exception, becoming that "town full of losers" he was born to run from.

The "redemption" in the film's subtitle hinges on music. The upbeat last part of the movie has the LGBQT community moving into the wrecked city, clubs re-opening, kids going to rock 'n' roll school. There's even an occasional music event on the West Side. The result is today's "new" Asbury Park: upscale restaurants, multi-million dollar penthouse apartments, condominiums. Fade to a nostalgic reunion concert where Springsteen, Van Zandt, Lyon and others play together at the end of the boardwalk.

Except more than 30 percent of the present population of Asbury Park is living below the poverty line. That's about three times the national average. From the Hispanic families in apartments over Main Street to African American families proudly trying to get by in their West Side homes, the "redemption" has bypassed those most in need. The new Asbury looks a lot like Bradley's original vision of the city. A single man no longer owns the shoreline, but a single developer effectively does. As agents sell condos by lauding the city's rich musical history, it's become harder and harder for young musicians to afford to live there.

For all its evocative history and the well-meaning participation of locals and stars, Asbury Park blurs reality to get to its happy ending. The city today looks like the nation does: a tiny percentage of people control most of the wealth, while promising that someday it will trickle down — or, in this case, trickle inland. If we still believe in a different promised land — the one the best of Asbury's music evokes — we need to have an accurate picture of where we are now and how we got here. The equation — and the challenge — still hold. Asbury Park: Springsteen: America.
- July 24, 2019 - Daniel Wolff reporting - all stills from the film Asbury Park: Riot, Redemption, Rock 'n' Roll

Western Stars film will premiere at Toronto festival

In 2010, Thom Zimny's Darkness documentary (The Promise: The Making of Darkness on the Edge of Town) had its world premiere at the Toronto International Film Festival. Nine years later, Zimny will return with his latest film: Western Stars, co-directed with Bruce Springsteen. The film was announced today as one of the festival's Gala Presentations, to have its world premiere at TIFF in September.

The performance documentary runs 83 minutes; as described on the festival website: "The incomparable Bruce Springsteen performs his critically acclaimed latest album and muses on life, rock, and the American dream, in this intimate and personal concert film co-directed by Thom Zimny and Springsteen himself."

The 44th Toronto International Film Festival runs September 5–15, 2019, with the full schedule coming on August 20. Visit for further information and tickets.
- July 23, 2019

Tomorrow night's Philadelphia premiere of Clarence Clemons: Who Do I Think I Am? has been moved from The Philadelphia Film Society's Film Center location to its nearby Roxy Theater location at 2023 Sansom Street.

All previously purchased tickets remain valid for admission to the new venue, and tickets still can be purchased for tomorrow night's screening. The screening begins at 7pm and will be followed by a Q&A with producer Joe Amodei and Backstreets contributor Shawn Poole, who also served as the film's chief researcher.

While the move was a practical one to accommodate some more screening locations/times for Quentin Tarantino's latest epic Once Upon a Time In Hollywood (with Brad Pitt coincidentally playing a stuntman who drives fast and falls hard,) it's also very fitting indeed that Big Man's film should end up playing at Philly's Roxy Theater. Not only did Bruce Springsteen and the E Street Band play some historic '70s gigs at L.A.'s famous Roxy Theatre, but their first official performances as headliners within Philly's city limits took place on November 17, 1973 at the long-gone Roxy Theatre that once stood in the city's Roxborough section.
- July 22, 2019

REVIEW / WHEN THE PROMISE WAS BROKEN: Short Plays Inspired by the Songs of Bruce Springsteen
Have you ever wondered how that "baby" feels about her man "driving all night" just to…buy her some shoes? And what if "drive all night" is in fact a euphemism for…

To find out, read When the Promise Was Broken, an anthology from Smith & Kraus of 13 new short plays, each written by a different playwright, each inspired by a different Bruce Springsteen song.
Given the vivid characters and stories that run (and drive) through Bruce's catalogue, with narratives bursting beyond the brevity of a three-minute record, it's shocking that his canon hasn't resulted in a preponderance of fan-fiction. When the Promise Was Broken is here to fill the void, with a more professional package than we've come to expect from the genre. Editor Joan Herrington, chair of the Theatre Department at Western Michigan University, wrangled an array of playwrights, all at various points in their careers, to respond to one of Bruce's songs in whatever fashion they so desired — a deliberately vague prompt that basically granted free rein. If staged (as some of them were earlier this year at Union College), the plays would be about ten minutes long individually, featuring from one to six actors (a majority fall on the smaller end of the spectrum… and of course there's a Mary!).

Of the 13 plays, two — based on "Highway Patrolman" and "Nebraska" — pick up where their source material left off, chronicling the lives of the same dramatis personæ. With its intimate humanism, the bedrock of much dramatic writing, Nebraska is unsurprisingly the most represented album in the collection ("State Trooper" rounds out this melancholic trio). Perhaps that's the reason that, despite moments of levity, When the Promise Was Broken can be a depressing read.

Only two plays dabble in the comedic. They also happen to be the most overtly navel-gazing — which, in my book, is not a pejorative — delving into how Bruce's music influenced the playwrights. The title of the first describes itself better than I ever could: "a semi-autobiographical response to feelings of sexual inadequacy prompted by repeatedly listening to Bruce Springsteen's 'I'm on Fire' over and over for four hours straight — by Gregory Moss." (We've all been there, am I right?) And the second comes closest to retelling the original song's plot on stage, translating the musical language of "Growin' Up" into a visually theatrical vernacular to juxtapose Bruce's childhood with how it colored the author's upbringing.  

Returning to "State Trooper," it's one of three tracks — along with "American Skin" and the aforementioned "Drive All Night" —  that are expanded and expounded upon by fleshing out perspectives of characters initially short-shrifted. The rest of the plays (based on "Secret Garden," "Streets of Philadelphia," "Cover Me," "Terry's Song," "We Take Care of Our Own," "When You're Alone") wrestle with general ideas related to their inspirations. A handful comment on Springsteen's macro themes, narratives, and thematic narratives. Others update his treatment of sociopolitical issues for 2019; toxic masculinity — a concept that's turned up in his writing since long before the phrase entered the popular lexicon — is a frequent focus here, though many of the plays still center on the male experience.

These tales feel like they exist in the same artistic world Bruce has been building throughout his career (a Springsteen Extended Universe! The SEU!), full of people desperately yearning — and, usually, failing — to communicate with each other, and with themselves, to find or erect a bridge out of their lonely existential despair. They populate familiar Springsteenian haunts of Americana — bars, cars, and cathedrals. And our brief time with them strikes Bruce's sweet spot: specific enough to resonate deeply, but not too specific as to inhibit anyone's entry in; maintaining a universality that should be able to speak to most people on some level, while not so universal as to become uselessly general.

As with Bruce's oeuvre, figuring out how the plays might fit together to form a larger, interwoven mosaic of joint-meaning — where the whole is greater than the sum of its disparate-yet-cohesively-connected parts — remains open to endless interpretation. To me, this tapestry explores, from a variety of angles, the interrelated concepts of what we leave behind, and what lingers with us forever. What do we do with the histories — personal, familial, communal, societal, environmental, political, etc. — we're born into? When the Promise Was Broken posed a variation of that question to its playwrights, and the plays constitute their answers: how do we handle the history Bruce has left us in his songs? For those of us who've been shaped by them, making further sense of his music can help us in turn make further sense of ourselves, and each other.
- July 19, 2019 - Steven Strauss reportng

They shared one stage only, at the Stade Houphouet-Boigny on October 9, 1988 in Abidjan, Ivory Coast.

The cause was worthy — expanding awareness of the Universal Declaration of Human Rights, on the 1988 tour for Amnesty International — but as these things tend to go, there were collateral outcomes. One of which was to captivate and expose Bruce Springsteen fans to the infectious, multi-cultural music of South Africa's "White Zulu," a.k.a. Johnny Clegg.  

From the time he was 12 years old, Clegg, who died Tuesday of pancreatic cancer, had crossed the line between blacks and whites in the very heart of the apartheid nation, becoming a symbol of hope and resistance through the power of music. For more, read Anastasia Tsioulcas's tribute for NPR, "Johnny Clegg, a Uniting Voice Against Apartheid, Dies at 66."

- July 18, 2019 - Bob Crane reportng

Exhibition to celebrate a local hero for Freehold's 100th

The Monmouth County Historical Association has announced a historical exhibit opening this fall in Freehold, NJ, just after Bruce Springsteen's 70th birthday, celebrating a favorite son. Springsteen: His Hometown will provide a comprehensive look of how Monmouth County, NJ has been thematically woven into Springsteen's music and art throughout his career.

Freehold is Springsteen's original hometown, as he recalled so evocatively in Springsteen on Broadway, and the exhibit's unveiling will coincide with the centennial of Freehold Borough.

The exhibit will display more than 150 unique items, featuring selections from both the Monmouth County Historical Association and The Bruce Springsteen Archives and Center for American Music at Monmouth University. Memorabilia and artifacts on display will include:

  • Original color poster from The Castiles, Bruce Springsteen's first band that originated in Freehold.
  • Personal scrapbook [pictured above and below] made by Bruce Springsteen's mother, Adele
  • 1943 High School Yearbook of Bruce Springsteen’s mother, Adele.
  • 19th Century Civil War document that includes Alexander Springsteen, of lineal descent to Bruce Springsteen.
  • 1801 document signed by John Springsteen, a patriot of the Revolution and direct ancestor to Bruce Springsteen.

"The MCHA is honored to have the opportunity to exhibit some of the most unique, and some never-before-seen, items that reflect the unparalleled career and life of Bruce Springsteen," says Linda Bricker, President of the MCHA Board of Trustees. "Springsteen remains an essential part of the fabric that comprises the deep history of Monmouth County."

The exhibit is being co-curated by Melissa Ziobro, Monmouth University’s Specialist Professor of Public History, and Bernadette Rogoff, Director of Collections for MCHA. "It's wonderful that the MCHA, with an exquisite gallery space in the heart of Bruce Springsteen's hometown, will be hosting an exhibit that will showcase the Archives and explore his life for a wider audience," Ziobro says. "I am so grateful for the team that has come together to make this vision a reality."

Eileen Chapman, Director of The Springsteen Archives, will serve as advisor to the exhibit, along with Robert Santelli, founding director of the Grammy Museum in Los Angeles.

The exhibition will open on September 29, 2019 and run through Fall 2020. Ticket information and sponsorship opportunities are now available at Proceeds from the exhibit will benefit MCHA, dedicated to preserving and sharing the story of Monmouth County.
- July 17, 2019 - photographs by Mark Krajnak for MCHA


Bruce Springsteen is officially one step closer to an EGOT, with today's announcements of nominees for the 71st annual Emmy Awards. Springsteen on Broadway, which came to small screens via Netflix in December, received an Emmy nomination for Best Variety Special. The Netflix special also earned a nomination for Thom Zimny, in the Directing for a Variety Special category.

The competition:

Variety Special (Pre-Recorded)
Carpool Karaoke: When Corden Met McCartney Live From Liverpool (CBS)
Hannah Gadsby: Nanette (Netflix)
Homecoming: A Film By Beyoncé (Netflix)
Springsteen on Broadway (Netflix)
Wanda Sykes: Not Normal (Netflix)

Directing for a Variety Special
Carpool Karaoke: When Corden Met McCartney Live From Liverpool, CBS (Ben Winston)
Homecoming: A Film By Beyoncé, Netflix (Beyonce Knowles-Carter, Ed Burke)
Live in Front of a Studio Audience: Norman Lear's 'All In The Family' and 'The Jeffersons,' ABC (James Burrows, Andy Fisher)
Springsteen on Broadway, Netflix (Thom Zimny)
The Oscars, ABC (Glenn Weiss)

As the Hollywood Reporter notes, Springsteen's potential EGOT status — that's boxes checked for Emmy, Grammy, Oscar, and Tony — would come with a small asterisk, as Springsteen's special Tony Award for Springsteen on Broadway was honorary and non-competitive. But he'd be in good company, as he would "join the ranks of other non-competitive EGOT winners including Barbra Streisand, Liza Minnelli, James Earl Jones, Alan Menken, Harry Belafonte and Quincy Jones."

But hey, we can pick those nits later if need be. It is, as they say, an honor to be nominated — congratulations to Bruce Springsteen, Thom Zimny, and everyone else who worked to bring Springsteen on Broadway from stage to screen. The 2019 Emmy Awards will air September 22, live on FOX.
- July 16, 2019

Jerry Lawson of The Persuasions, 1944-2019
Jerry Lawson, the original lead singer, arranger and producer for the great, mainly a capella group The Persuasions, died at 75 last Wednesday. On October 28, 1972, Bruce Springsteen & the E Street Band played their first-ever official gig together at West Chester State College (now West Chester University) in West Chester, PA, on a triple-bill below The Persuasions and headliners Cheech & Chong. (The show also marked Bruce's first known performance in Pennsylvania and the first onstage appearance of Springsteen's now-iconic Telecaster/Esquire hybrid, the guitar featured on the cover of Born to Run.)

Lawson left The Persuasions in 2003, so he wasn't in the version of the group that backed Little Steven & the Disciples of Soul on Soulfire's "The City Weeps Tonight" and "I Don't Want to Go Home."  In 2004, however, Lawson and fellow Persuasions founding member Jimmy Hayes recorded a beautiful, unique version of "Born to Run" on the now-out-of-print A Tribute to Bruce Springsteen. Listen here:

- July 15, 2019 - Shawn Poole reporting

JIM HENKE, 1954-2019
We at Backstreets were saddened to learn of the recent passing of James Henke, former Rolling Stone writer/editor and chief curator for The Rock & Roll Hall of Fame and Museum from 1994 through 2012. Only 65, Henke died after a long struggle with dementia.

It was during Henke's term as curator at the Hall of Fame that the exhibit Bruce Springsteen: From Asbury Park to the Promised Land had an immensely successful run of almost two years in Cleveland, beginning in 2009, followed by another successful run at Philadelphia's National Constitution Center in 2012. Henke (pictured above speaking at the NCC) conducted an extensive interview with Springsteen that centered around the exhibit's artifacts, audio excerpts of which could be heard at listening stations during the exhibit's Cleveland run. Jim generously allowed Backstreets to publish a transcript of that interview in full, which appeared in issue #89.

Henke also was the author of 1988's Human Rights Now!: The Official Book of the Concerts for Human Rights Foundation World Tour, featuring much Springsteen-related material, of course. And during the Human Touch/Lucky Town period, Jim Henke conducted three lengthy conversations with Springsteen in Los Angeles and New York. Published in the August 6, 1992 issue of Rolling Stone, his "Bruce Springsteen: The Rolling Stone Interview" remains one of the most revealing Q&As with the artist ever, in which Springsteen first discussed publicly and in detail his decision to break up the E Street Band, his experiences with therapy, the end of his first marriage, and his relationship with Patti Scialfa.

Click here to read the Rolling Stone obituary for Jim Henke, which outlines many more of his notable accomplishments as author, editor and curator. We at Backstreets extend our deepest condolences to all who knew and loved Jim, as we remember and appreciate his kindness towards us.
- July 12, 2019 - Shawn Poole reporting - photograph by Michael Zorn/Rock & Roll Hall of Fame (Archives)

Springsteen calls to chat, announce Western Stars film, and say thanks

"I was just listening to the show, driving home from the gym, and I thought I'd call..." That's how Springsteen's impromptu 10-minute phoner started this morning, as he surprised Live From E Street Nation hosts Dave Marsh and Jim Rotolo on E Street Radio.

After a bit of chat about playing with Garry Tallent on Saturday night, Springsteen made some news: "We made a film of the Western Stars album," he said, likely explaining the performance footage we've seen in Thom Zimny's recent videos for "Tucson Train" and "Western Stars." "I play the record start to finish, along with some other things," Bruce continued. "Because we knew we weren't going to tour, so I was looking for a way to get some of the music live to an audience, so we figured that was the best way to do it.... It was a great time, we look forward to getting it to fans when we can."

As for Western Stars, Springsteen is not only "really proud" of the album itself, he's also excited by the response it's gotten: "Because I thought the record was a little off to the left, and I really didn't know what kind of response it was gonna get.... Seeing how the record was received, it was very exciting, and it made us look for how we could further that experience for the fans, without going out and playing live right now — because I'm still working on some other things, too."

Springsteen expressed a deep appreciation for his "great audience," one that "really follows me where I need to go.... They're not stuck in a rut, they don't only want to hear a specific group of songs, they're really adventurous — if I keep the quality of what I'm doing up, they're adventurous as far as where I want to go. And that's the greatest gift an audience can give an artist, is room to be who he is, create what he feels, and to know that you have open ears when you put that out. So it was very, very exciting to see the reception that the record got from the fans.

"If you want to be great," Bruce concluded, "you need to have a great audience. And it's something I'm very proud of over the years, how we developed together and how we've grown together."

Listen to the whole conversation below.

- July 10, 2019

"I'll Stand By You" leads a handful of Boss rarities

The first bit of buzz to come out of the Sundance premiere of Blinded By the Light was that the film is a joyful success. The second bit, following very closely on those heels — at least for Boss diehards — is that the movie finally gives Bruce Springsteen's "I'll Stand By You" its moment in the sun. As we've recounted here before, Springsteen originally offered the original song to director Chris Columbus for the first Harry Potter movie, but the song went unused. In 2016 Bruce told the BBC's Simon Mayo that he still had hopes for the song to make it into theaters: "At some point I'd like to get that into a children's movie of some sort. It was a pretty lovely song."

With Blinded By the Light being just the right vehicle, "I'll Stand By You" will be officially released in August on the film's Original Motion Picture Soundtrack from Sony Legacy.

Due August 9 on CD and August 30 on 2LP Vinyl, the Blinded soundtrack is, as you'd imagine, heavy on the Springsteen (though it's filled out with additional songs from the era and dialogue from the film). Along with standards like "Born to Run," "Badlands," and the film's title track, of particular interest for fans will be a couple of rare live recordings: the No Nukes debut of "The River" from 1979 (previously issued in the live series, this will be its first time on vinyl) and Bruce's powerful, solo-acoustic rendition of "The Promised Land" from Veterans Day 2014, broadcast on HBO's Concert For Valor.

You listen in advance to that live "Promised Land" now on Apple Music.

For additional details and full track listing, see the Blinded By the Light soundtrack in the Backstreet Records shop, where pre-ordering is available for both CD and vinyl. The film sees wide theatrical release on August 14.
- July 9, 2019

News Flash! Moonlight Motel overrun by zombies!
Jim Jarmusch's The Dead Don't Die, a fun summer horror-comedy-social-commentary mashup, has much to recommend it, including Tom Waits in a major role and a lawman played by Bill Murray. In addition, Springsteen fans will spot a familiar place in the film's sleepy, fictional little town: the Moonlight Motel.

Talk about giving a whole new layer of meaning to a Springsteen song... now we know the real reason the place is "boarded up and gone like an old summer song." After all, zombie infestations tend to hurt business a bit. Even former motel owner Danny Perkins (Larry Fessenden, right) can't help but help himself to the flesh of a guest or two. Still a nice shirt, though.

The Dead Don't Die is currently screening nationwide. Click here for more information.
- July 9, 2019 - Shawn Poole reporting

Summer Stage, July 6, 2019

In the middle of the first heat wave of the summer in New Jersey, things got even hotter at The Stone Pony on Saturday night. The humidity hung in the air all day, and the skies even opened over Asbury Park for a brief rainstorm at one point in the afternoon. All eyes were on the skies as the day wound down — there was a rock 'n' roll show to put on.

Southside Johnny and the Asbury Jukes were scheduled for the Pony's outdoor Summer Stage, along with Garry Tallent of the E Street Band, and Remember Jones, to add a little firecracker pop to the Fourth of July weekend on the Jersey Shore. Weather outlets were consulted, soundchecks were delayed, but by the time Garry (backed by his pals The Delevantes) hit the stage, some sun was peeking out to give everyone hope that the show would go on.

Garry, a Neptune, NJ native, was playing in support of his forthcoming new album, More Like Me, his follow-up to Break Time. With the new material inspired by early '60s garage rock, the sound mixed a bit of rockabilly with a lot of great guitar work. The crowd was already enjoying Tallent's talents, but then things went to another level when Garry asked a friend to come out to help with vocals on a new song.

Clad in a dark T-shirt, dark jeans, scuffed work boots, and a faded New York Yankees cap, Bruce Springsteen came out to cheers. Previously, he had been taking in Garry's show stage left, nodding along in rhythm to his friend's tunes. Saying it was his shortest new song, Garry started off "Dirty Rotten Shame" and Bruce followed in step [VIDEO]. The crowd loved seeing these two old friends jamming on a Stone Pony stage.

It had been eight years since Bruce had performed at the Pony (though he and Patti did attend the memorial there for long-time Asbury Park music supporter Kerry Layton in June). This would have been enough for the packed crowd, but it was going to get better.

After a brief intermission, one of Asbury Park's hottest acts, Remember Jones, took the stage for a shortened set. Remember Jones, fronted by Anthony D'Amato, is a multi-piece unit that boasts a horn section, two keyboard players, backup singers, and all the energy you can ask for. Their retro outfits looked like they would feel right at home in the new film set in the late '60s, Once Upon a Time In Hollywood. Near the end of the Remember Jones set, the sky had turned cloudy again, but their version of "Let the Sunshine In" made the early evening brighter.

Of course, rippling across the crowd was the question of whether Bruce would join his old buddy, Southside Johnny, on stage. The last time they joined forces was for the "Upstage Jam," held during the Asbury Park Music & Film Festival in April 2017. Would it happen again?

The Jukes came out blazing, starting off with "I'm Not That Lonely,"leading into "All I Needed Was You" and "Woke Up This Morning." Then, after about 12 songs, Johnny said those magic words: "Come on out, Boss Man!"

The packed crowd let out extended variations on "Bruuuce!" and grew even more excited as The Jukes and Bruce launched in to "Sherry Darling," a favorite Springsteen summer song, followed by a special version of "The Fever," and an animated "Talk to Me."

In all, Bruce would play seven songs (full setlist below) with Southside and the Jukes. This didn't seem to be a show-up-and-jam show, this was a full-on performance. Bruce wasn't the only guest on stage; singer/songwriter Lisa Lowell, a long-time friend of the Jukes, came up for the encore to add guest vocals on "Until the Good Is Gone" and "Got to Be a Better Way Home."

This hot day turned into one of those magical Jersey Shore nights, the kind that people who missed it will wish they had been there (or might say they had been) and the people who were there will always remember. The rain held off, the crowd stayed strong, and music filled the boardwalk. Pretty much a perfect summer night in Asbury Park.

Southside Johnny & The Asbury Jukes Setlist for July 6, 2019

I'm Not That Lonely
All I Needed Was You 
Woke Up This Morning
Love on the Wrong Side of Town
Broke Down Piece of Man
All I Can Do
Strange Strange Feeling
All the Way Home
Key to the Highway
Harder Than It Looks
Ride the Night Away
Sherry Darling [VIDEO pt 1] [VIDEO pt 2]
The Fever
Talk to Me
Kitty's Back
I Don't Want to Go Home
Mona/Not Fade Away
Having a Party
* * *
Until the Good Is Gone
Got to Be a Better Way Home

with Bruce Springsteen

- July 7, 2019 - report and photographs by Mark Krajnak/JerseyStyle Photography - thanks to Stan Goldstein for the video clips

Garry, Johnny, and Bruce — live at the Pony, and on E Street Radio tonight

Southside Johnny & the Asbury Jukes' Fourth of July bash is an annual tradition at the Stone Pony, and this year there were extra fireworks: with Garry Tallent opening and special guest Bruce Springsteen on the Summer Stage to play both with Garry and an extended guest set with the Jukes, last night was a real Saturday night special. We're talking "Sherry Darling," "Kitty's Back," "The Fever," "Talk to Me," and more. Full report with photos to come; in the meantime, you can hear it for yourself: tune in to E Street Radio tonight at 8pm ET for a reairing of last night's live broadcast.
- July 7, 2019

A 1980 two-fer: 12/29 drops, along with a new Jon Altschiller mix for 12/31
Few Bruce Springsteen dates go together like the last two of 1980, the second and third nights of his New Year's run at Nassau Coliseum. Maybe that's due to the infusion of holiday spirit, the wide range of material, or the shows' marathon running times: 12/31/80, an early entry in the live archive series, was believed for decades to be the longest one Springsteen and the E Street Band ever performed. Today's live release takes us back to Long Island for the stand's middle night, Nassau Coliseum, New York, 12/29/80.

It's the third complete River-era recording in the Nugs line-up (along with Wembley Arena, June 5, 1981). Opening with the tour premiere of "Night," the new 35-song set features 12 songs from The River ("Stolen Car," "The Ties That Bind"), a bevy of newly-introduced covers ("Who'll Stop the Rain," "This Land is Your Land"), and a breakout performance of "Incident on 57th Street," one that fans probably identify the most from this date.

The song's sole River tour nod was its last until 1999; simpatico with more recent material, the '80s farewell to Spanish Johnny and Puerto Rican Jane remains an E Street Band highlight. Like three other songs from 12/29, "Incident" played a role in the making of the Live/1975-85 box set, though indirectly: left out of the proper 40-song sequence, the live recording became a B-side in Europe and North America. And in Japan, the track anchored a four-song EP called Live Collection. Now restored to its origins, "Incident on 57th Street" flows into "Rosalita," just as it did on Springsteen's 1973 LP The Wild, The Innocent & the E Street Shuffle.

Moreover, 12/29 features seven songs that don't appear on 12/31, like "Tenth Avenue Freeze-out," "For You," and "Point Blank," making it a fine complement to one of Springsteen's most legendary concerts. These performances were complex undertakings, packed with songs from seemingly every corner of the pop, folk, and rock universe. And if the coming new year caught anyone in a reflective mood, it was Springsteen himself: here, he sets up "Independence Day" and "Stolen Car" with spoken introductions that go straight to the heart of his River-era writing.

The New Year's Eve performance initially emerged from in 2015, the series' fourth release overall. That first version lacked the clarity of later releases; it sounded fine, but was it a quantum leap over even the best source that had circulated among fans? No.

Whatever the motivation to circle back, a new 2019 mix for 12/31/80, also released today, corrects a modest flaw in the archive. With Nassau Coliseum, New York 12/31/80 Remix, the 38-song performance now features sound that maximizes the potential of the multi-track tapes. In addition to a new mix by Jon Altschiller, the 2019 transfer for 12/31 was done using Plangent, a process that corrects a range of imperfections and yields more accurate fidelity. In terms of sonics, that brings this version in line with where the archive series is today.

But it's not a re-do entirely. Archive watchers will remember a second version for the 2013 Rome recording, but that initial release was a true misfire, necessitating a remixed fileset from Nugs as a replacement. This month's surprise second take of New Year's Eve '80 requires a fresh purchase, although anyone who bought the original version released in 2015 can stream the new files for free in the "My Stash" section of the mobile app (desktop streaming requires a separate subscription).

It's worth noting that the 12/31/80 concert most likely never actually held the record for the longest of Springsteen's career. Until Helsinki in 2012, that honor belonged to another 1980 show, December 19 at Madison Square Garden. That's according to an eminently reasonable methodology you can read about here.

Also read: Erik Flannigan's latest blog entry, "My Brand New Record, Rosie, Made It All the Way to Number One"

- July 5, 2019 - by the Editors - 12/31/80 photographs by James Shive/

Thirty-four years ago in Washington DC, on the corner of M Street and Wisconsin Avenue, local bar Annie's turned its slowest night of the week, Monday, into a booming all-night Springsteen party under the handle The Pink Cadillac Club.

Regardie's magazine, then known as The Business of Washington, wrote: "After donating his services to such worthy groups as Vietnam Vets and unemployed steel workers, rock 'n' roll star Bruce Springsteen is now unwittingly being called upon to save the bars of America from slow nights."

With the occasion of Springsteen's milestone 70th Birthday coming up this September, and probably due to similar excitement being generated across the pond, The Pink Cadillac Club is returning for one week only this fall.

Dates are currently on sale in the Pink Cadillac Club hometown of Washington, DC on Tuesday, September 17; Philadelphia/Wayne, PA on Thursday, September 19; and Asbury Park, NJ at The Saint on September 23. Dates are still being negotiated for possible evenings in Pittsburgh and New York City....

Continue reading
"Having a Party Out Back at the Pink Cadillac"
for further details and ticket links

- July 3, 2019

A long-time-comin' project that began while he still was physically with us, Clarence Clemons: Who Do I Think I Am? finally begins hitting big screens in the U.S. this summer (watch the official trailer above.) The completed film, first screened selectively in a shorter, work-in-progress edition before the Big Man's passing, still features plenty of footage of Clarence himself (including newly added segments,) now supplemented by interviews with many who knew and loved him and/or his music. It follows his adventures on and off E Street, especially his late-in-life journey to China for a spiritual and musical re-awakening.

Several of this summer's screenings also will feature post-show conversations with key players in the creation of the doc: director Nick Mead, producer Joe Amodei, and/or the film's chief researcher, Backstreets writer Shawn Poole. Here's the rundown of where each of these special screening events will take place and who will be there:

July 16 - Beverly Hills, CA
Laemmle Theaters - Ahrya Fine Arts location
Post-screening conversation with director Nick Mead
Click here for tickets

July 18 - Pasadena, CA
Laemmle Theaters - Playhouse 7 location
Post-screening conversation with director Nick Mead -
Click here for tickets

July 23 - Philadelphia, PA
Philadelphia Film Center
Post-screening conversation with producer Joe Amodei and chief researcher Shawn Poole
Click here for tickets

August 16 - Newtown, PA
The Newtown Theatre
Post-screening conversation with producer Joe Amodei and chief researcher Shawn Poole
Click here for tickets

Clarence Clemons: Who Do I Think I Am? also will be showing:

Click here for a complete listing of all screenings and links to buy tickets, which will continue to be updated as any additional screenings and links are added.
- July 2, 2019

Nearly half his lifetime ago, Roy Bittan was a clean-shaven cover model for Keyboard magazine, celebrating "Glory Days with Bruce Springsteen" after 12 years with the E Street Band. Now 70 — born July 2, 1949 — those glory days continue with 45 years of E Street service and counting. Doesn't look like much else has changed besides the beard coming back. Happy birthday, Roy!
- July 2, 2019

For this week's holiday, the Stone Pony & Tramps Like Us celebrate the 35th anniversary of the Born in the U.S.A. tour

This Wednesday night, Independence Day Eve, acclaimed tribute band Tramps Like Us will be re-creating a classic concert from Bruce Springsteen & the E Street Band's 1984 tour: the August 20, 1984 concert in East Rutherford, NJ, which was the final show of their historic, ten-night, sold-out stand at Brendan Byrne Arena.

This Born in the U.S.A.-era marathon in the Meadowlands famously featured "Drift Away" and special guests Steven Van Zandt and the Miami Horns.

When the audio was released in official live archive series last year, Backstreets described the show as "one of the most memorable and special shows of Bruce's career." Though some of its magic moments would be impossible to recreate by anyone, this is a rare chance to see a legendary set brought to life on stage.

Advance tickets are recommended and available through Ticketmaster, but they will also be available at the Stone Pony door on a first-come, first-serve basis while they last. For complete information on Wednesday night's show, visit
- July 1, 2019

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The Rise and Fall of the Town Springsteen Made Famous [NYTimes]
#Springsteen70: Birthday roundup by Blogness on the Edge of Town
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"How 'Blinded' brought Springsteen's music to the screen for a song" [Variety]
"Springsteen School is in Session," with Rutgers prof Lou Masur [Philadelphia Inquirer]

Updated 9/24/19

We also post all known concert dates for some of our favorite Jersey Shore (and Shore-adopted) musicians:

Willie Nile
Bobby Bandiera
Southside Johnny
John Eddie
Joe D'Urso... and more.

For more information on upcoming shows such as these, check out our Concert Calendar.


Many from the Springsteen community banded together to preserve this Asbury Park landmark.... and Tillie has now been saved!

Check our Save Tillie page for the latest developments.


Organized by Backstreets in 2001, this storehouse of Boss books and magazines is the largest such collection outside of Bruce's mother's basement. Thanks to the generosity of fans around the world, total holdings are now well over 15,000. But the collection is by no means complete.

Check out the Springsteen Special Collection page for more info.

With the Ticketmaster / Live Nation merger approved, we encourage fans to get involved to help protect ticket-buyers.

Check our Fight the Monopoly page for the latest developments


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