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Bruce Springteen’s Fabled 1978 Agora Show: Whatever Happened To The Master Tapes?

agora.2.jpg

Photo by Peggy Turbett, The Plain Dealer:  Henry LoConti, owner of the Agora music hall, holds a three-disc set of Bruce Springsteen’s 1974 and 1978 performances at the Agora.

Thanks to Tom Feran, The Plain Dealer & The Plain Dealer.com

“Whatever happened to . . .?” is a weekly series updating some of the most newsworthy and interesting local stories covered in The Plain Dealer. Have a suggestion on a story we should update? Send it to John C. Kuehner.

(I have had the concert since 1980, when I got a cassette from the live broadcast.  It was the second best bootleg of my extensive collection.  It was crisp, clean and every detail and nuance of the concert could be heard.  I screwed up my master and was a bit pissed and I couldn’t even bear to listen.  Then with the advent of CD’s, I of course bought that show.  I was once more listening to cymbals and guitar riffs that made you think you were in the Agora in 1978!)   This is a must listen and any real Bruce collector should have this in their collection!)   

Today, we answer this question:

Whatever happened to the legendary “master tape” of Bruce Springsteen’s famed 1978 show at the Agora?
 If he can get an approving nod from Springsteen’s management, visionary Agora owner Henry LoConti hopes the recording can be heard by fans, and yield a Boss-scale benefit for the city that first embraced him 40 years ago.

For now, however, the reel-to-reel tape, handled only by gloved hands, rests in a vault at the Western Reserve Historical Society, where LoConti donated it.

Visitors can hear other Springsteen material on listening stations at the society, spokeswoman Angie Lowrie said, but that tape is not in a format to be included.

The tape, more than three hours long, was for a live album that never was. The show was the WMMS 10th anniversary concert of Aug. 9, 1978, for which more than 1,200 fans, who were awarded free tickets in a postcard giveaway, packed the Agora’s original site on East 24th Street. Springsteen and the E Street Band, who had been touring since May, stayed in town for several days for it.

WMMS simulcast the concert live in stereo to a network of FM stations — more than 30 of them, in LoConti’s recollection, including Chicago and Detroit — which made it one of Springsteen’s most widely bootlegged shows. Former WMMS programmer John Gorman recalls in his book “The Buzzard” that Bob Seger told him he recorded it off the radio in Detroit, calling it “the greatest rock ‘n’ roll show I ever heard,” and drummer Max Weinberg called it the best show the E Street Band ever did.

One audio feed from the show went to a production truck outside the Agora for radio.

 

agora1.jpgPeggy Turbett, The Plain DealerHenry LoConti would like to release the boxed set to support the Western Reserve Historical Society, but so far Springsteen’s manager won’t approve the release.

Another line, LoConti said, went directly upstairs to Agency Recording Studios, and was captured on 24-track tape for a possible album. That’s the pristine master recording in the vault.

“It’s one of the biggest bootlegs out there,” LoConti said, which may explain why the album never happened. But he notes that bootlegs don’t have the full show, because Springsteen played an encore after the radio broadcast ended, “and not the quality of 24-track.”

LoConti recently made the recording into a very limited edition four-disc box set (so limited there were only 10 copies) that also included the 16-track recording of an hourlong Springsteen show at the Agora from June 1974, when the E Street Band included keyboardist David Sancious.

He sent copies to Springsteen, Miami Steve Van Zandt and Springsteen’s management, asking permission to issue the set for sale, with all proceeds going to the Western Reserve Historical Society.

“Unfortunately,” he said, “the manager said no.”

But LoConti hasn’t given up the idea. He would, in fact, like to take it up a notch with a higher-cost version of the box set that would add a DVD from an Aug. 30, 1978 show at the Agora with Southside Johnny and the Asbury Jukes. For its last 28 minutes, they’re joined onstage by Springsteen, Miami Steve and Clarence Clemons, who came from playing a show at the Richfield Coliseum.

Five cameras recorded video because the show was being shot for the “Live at the Agora” TV series. Miami Steve would not allow the 28-minute closing jam to be used in the show, however, because he did not want the high-profile guests to take attention away from Southside Johnny.

LoConti hopes he now can get permission to use the video. In his vision, the money from the box sets would be used to give the historical society’s Crawford Auto-Aviation Museum its own separate home in Midtown on the Euclid Corridor.

“I put the box set together for that purpose,” he said. “It’s a good-sounding album. And it’s history.”

Top 20 Concert Tours from Pollstar

The Top 20 Concert Tours ranks artists by average box office gross per city and includes the average ticket price for shows in North America. The previous week’s ranking is in parentheses. The list is based on data provided to the trade publication Pollstar by concert promoters and venue managers.
TOP 20 CONCERT TOURS
1. (1) Bruce Springsteen & The E Street Band; $2,031,105; $91.27.
2. (2) Cirque du Soleil – “Michael Jackson: The Immortal”; $1,755,442; $113.26.
3. (3) Elton John; $1,215,209; $109.60.
4. (New) Radiohead; $1,114,246; $58.33.
5. (New) Romeo Santos; $749,885; $73.22.
6. (5) Brad Paisley; $613,255; $42.71.
7. (4) Jason Aldean; $606,359; $44.95.
8. (6) Lady Antebellum; $551,924; $50.28.
9. (7) The Black Keys; $530,634; $47.07.
10. (8) Miranda Lambert; $380,811; $42.68.
11. (9) Blake Shelton; $365,387; $47.76.
12. (10) Jeff Dunham; $303,862; $45.07.
13. (11) Eric Church; $278,239; $35.80.
14. (12) Kelly Clarkson; $196,597; $54.28.
15. (14) Rain – A Tribute To The Beatles; $172,608; $49.34.
16. (13) Yanni; $166,899; $59.84.
17. (15) “Mythbusters”; $159,242; $51.54.
18. (New) Celtic Woman; $158,746; $58.15.
19. (17) Bassnectar; $134,163; $33.99.
20. (19) Casting Crowns; $133,964; $28.37.
For free upcoming tour information, go to www.pollstar.com

Springsteen Plays 1978 Version of ‘Prove It All Night’ in Barcelona

Thanks to  Stan GoldsteinThe Star-Ledger

Bruce Springsteen has performed “Prove It All Night” hundreds of times over the years, but Thursday night at the Estadi Olimpic in Barcelona, Spain, Bruce performed the 1978 introduction to “Prove It.”

What is the 1978 introduction? It’s beautiful piano work by Roy Bittan, joined by powerful drumming by Max Weinberg into intense guitar work  by Bruce. All three then combined for this powerful into that runs for more than two minutes .

It was the intro to the song on 1978′s Darkness on the Edge of Town Tour and last night was the first time Bruce has played that intro in more than 32 years.

It was a solid 29-song, three-hour show for the first of back-to-back nights in Barcelona. Also played were the tour premieres of “You Can Look (But You Better Not Touch)” and “Hungry Heart.”

“Talk to Me” was played for a sign request and this was the first show of the tour that the Apollo Medley (“The Way You Do the Things You Do” and “634-5789″) was not played. That’s welcome news to most fans here in the U.S. and probably to many in Europe too as it needed a break.

“Thunder Road” was played for the first time since the April 24 show in San Jose Calif., and “The River,” “Born in the U.S.A.” and “Bobby Jean” were played for the second straight show. “Rocky Ground” led off the encores after not being played in Las Palmas on Tuesday.

Set list:

Show began at 9:50 p.m. Barcelona time (six hours ahead of New Jersey)

Bruce and the band took the stage to Donna Summer’s “Last Dance” being played over the PA in tribute to Disco Queen who died on Thursday.

1. Badlands 2. We Take Care Of Our Own 3. Wrecking Ball 4. No Surrender 5. Death To My Hometown 6. My City Of Ruins 7. Out In The Street 8. Talk To Me 9. Jack Of All Trades 10. Youngstown 11. Murder Inc. 12. Johnny 99 13. You Can Look (But You Better Not Touch) tour premiere) 14. She’s The One 15. Shackled & Drawn 16. Waiting On A Sunny Day 17. The Promised Land 18. The River 19. Prove It All Night (1978 version) 20. Hungry Heart (tour premiere) 21. The Rising 22. We Are Alive 23. Thunder Road

Encores:

24. Rocky Ground 25. Born In The USA 26. Born To Run 27. Bobby Jean 28. Dancing In The Dark 29. Tenth Avenue Freeze Out

Show over at 12:50 a.m.

Is Bruce Feeling the ‘Fenway Guilt’? What About the Rest of The USA?

According to Peter Chianca, it seems that Bruce Springsteen is no longer Born in the USA, but more Born in the East Coast!

Thanks to By Pete Chianca

Call it Springsteenian Guilt Syndrome (SGS) — I’m almost embarrassed to be getting three stadium shows in Boston on the fall leg of Bruce Springsteen’s “Wrecking Ball” tour (as many as Jersey), especially when Bruce has yet to hit Pittsburgh, Kansas City or the Pacific Northwest. Just ask the commenters on our Facebook page, who are starting to get a little frantic, frankly.

What possessed him to embark on two Fenway shows and a Gillette Stadium stop in the same week we’ll never know — Maybe it’s because he’s enjoyed the time spent here while son Evan, who graduated this week, was attending BC. Or it could be because Camp Springsteen knows that we’ll pony (boy) up for the tickets no matter how many times he comes. Pittsburgh won’t come out unless he’s there with Grushecky. (Ahem.)

As for me, I have tickets to Fenway 1 and Gillette. Will I go for night 2 as well, or will sanity (along with my mortgage, my car payment and my family vacation fund) prevail? Stay tuned, and in the meantime, catch up with the Springsteen stories you may have missed if you for some reason aren’t glued to our Facebook page (and Twitter feed, natch) 24 hours a day, even though you should be.

• Speaking of Beantown, see Springsteen wandering the streets of Boston! (Above.) And where was I? That’s right, at work. What was I thinking?

22 seconds of the “Rocky Ground” video, for some reason.

Born to Rock: Bruce Springsteen’s 7 best albums

On the eve of ‘Wrecking Ball,’ a look at the Boss’s finest

By Melinda Newman Thursday, Mar  1, 2012  8:27 PM

Born to Rock: Bruce Springsteen's 7 best albums
Credit: AP Photo

Are you a fan of Music News?

Bruce Springsteen’s 17th studio album, “Wrecking Ball,” comes out March 6 and The Beat Goes On is blatantly stealing a page from our colleague Kris Tapley’s “The Lists” concept. In anticipation of the new set, we’re ranking The Boss’s Top 7 albums. Take a look at our gallery and let the debate begin.
Springsteen’s canon of work dates back more nearly 40 years to 1973’s “Greetings From Asbury Park, N.J.” While there was a major shift with his third album, 1975’s “Born To Run,” in terms of transforming from a proud Dylan wanna-be who crammed as many words as possible in to a song to someone who found his own identity and voice, what hasn’t changed has been his commitment to his craft and his live show.

At 62, Springsteen has become the chronicler of our times. Or as he says, it has always been his job to write about the distance between the American dream and American reality. Unlike many other artists whose songs aren’t rooted in any specific geography,  Springsteen’s narrative spans from sea-to-shining-sea. He is a product of New Jersey and the U.S.A. and the lyrical territory he roams in song seldom extends beyond our shores (despite the fact that he is now a bigger concert draw in Europe than he is here).
But to concentrate on Springsteen’s role as social commentator only shows one part of the story. Over the last several decades, Springsteen has delivered some of the goofiest, most joyous songs ever committed to record, whether it be the rollicking “Ramrod,” the double entendre-filled “Pink Cadillac,” the giddy “So Young And In Love” or the purely jubilant “Rosalita.”
It felt like a cheat to include live albums on here, so I didn’t. (I also chose not to include any bootlegs). However, any Springsteen fan’s collection is incomplete without two sets: “Bruce Springsteen & The E Street Band: Hammersmith Odeon London 75” and “Bruce Springsteen & The E Street Band: Live 1975-1985.” The Hammersmith set, which wasn’t officially released until  2005, captures a moment in time: Springsteen’s first U.K. show that has now become the stuff of legend. Springsteen was freaking out beforehand as Columbia’s hype machine was in full effect and he wanted the music to speak for itself. The loose-limbed, sped-up “Tenth Avenue Freeze Out” is a frenetic frenzy, and the 13-minute “E Street Shuffle” feels like it traverses space and time. It’s nothing less than revelatory to hear a 25-year old Springsteen, still so early in his career, at such command of his stage craft.
“Live 1975-1985,” if nothing else, shows the tremendous range of the E Street Band and serves as a de-facto greatest hits. It was also the first album to capture the wide-ranging magic of Springsteen’s show including such chestnuts as his covers of “Raise Your Hand” and “War” and songs that lay flat on vinyl, like “You Can Look (But You Better Not Touch)” but came alive in concert.
There are high notes on every album released, even the ones I would rank toward the bottom of a list should I have included the full catalog, such as 2009′s “Working On A Dream” (though I’m hard pressed to find anything good to say about “Queen of the Supermarket”). As with all such lists, this one is totally subjective. For example, though I find them among his most cinematic works, I find myself seldom returning to  largely acoustic, solo albums like “The Ghost of Tom Joad” and “Devils & Dust”
Before you flip to the gallery, if you aren’t a Springsteen fanatic (yet), watch this video, and  see what joy he brings millions of us (plus, there are wonderful shots of dearly departed members Danny Federici and Clarence Clemons):

Bruce Springsteen: Rocker Charges US Government With ‘Un-American’ Acts

Posted on Feb 17th 2012 4:00PM by Jason MacNeil

Taylor Hill, FilmMagic

Bruce Springsteen didn’t mince words Thursday night at the Theatre Marigny in Paris during a press conference while promoting his upcoming ‘Wrecking Ball‘ album. The topic: His utter disappointment with the current state of America. “What was done to our country was wrong and unpatriotic and un-American and nobody has been held to account,” Springsteen told The Guardian. “There’s a real patriotism underneath the best of my music. But it is a critical, questioning and often angry patriotism.” Springsteen, who gave critics an advanced listen of the new studio album, also said the fury behind some of the record’s lyrics, including the title track, was because “a big promise has been broken.” “You can’t have a United States if you are telling some folks that they can’t get on the train,” he said. “There’s a cracking point where a society collapses. You can’t have a civilization where something is factionalized like this.”The musician noted he plans to back President Barack Obama leading up to the November election but he may not offer his support as overtly as he did during the 2008 election. “I don’t write for one side of the street… But the Bush years were so horrific you could not just sit around,” Springsteen said. “It was such a blatant disaster. I campaigned for Kerry and Obama, and I am glad I did. But normally I would prefer to stay on the sidelines. The artist is supposed to be the canary in the cage.” As for Obama’s first term as President, Springsteen listed Obama’s healthcare legislation (“thought not the public system I would have wanted”), the death of Osama Bin Laden and bringing “sanity to the top level of government” as successes. But he also said “big business still has too much of a say in government” and felt the Guantanamo Bay detention camp “would have been closed” by now. Springsteen also cited the recent Occupy movements around the world, especially Occupy Wall Street, with pushing important issues to the forefront. “The Occupy Wall Street movement has been powerful about changing the national conversation,” he said, as reported by The Telegraph. “The Tea Party set the conversation for a while but now people are talking about economic equality. That’s a conversation America hasn’t had for 20 years.”

Watch Bruce Springsteen’s ‘We Take Care of Our Own’ Video

According to the rocker, the album’s first single ‘We Take Care of Our Own’ — which Springsteen performed last week at the Grammys — gets right to the point. “The song asks the question that the rest of the record tries to answer which is, ‘Do we?’ We often don’t,” he said as reported by The Evening Standard. “I write carefully and precisely and I believe clearly. If you’re missing it, you’re not quite thinking hard enough.” The Telegraph reports Springsteen addressed the strong emotion driving the album, too. “You can never go wrong in rock ‘n’ roll when you’re pissed off,” he said. “My work has always been about judging the distance between American reality and the American dream.” Springsteen also said “a lovely moment for me” on the album is the sax on ‘Land of Hope and Dreams,’ a song that features the late Clarence Clemons. “Losing Clarence is like something elemental, it’s like losing the rain, that’s a part of life,” he said. Springsteen launches the ‘Wrecking Ball’ world tour in Atlanta on March 18. The European leg begins May 13 in Sevilla and runs through July 31 in Helsinki. Although nothing is confirmed, there’s speculation a second North American leg is planned for later in 2012.

Exclusive: Bruce Springsteen Explains His Experimental New Album!

‘This is as direct a record as I ever made,’ he says

Bruce Springsteen performs during the 54th Annual Grammy Awards in Los Angeles.
Lester Cohen/WireImage
By Andy Greene
February 17, 2012 5:45 PM ET

Two years ago Bruce Springsteen told Rolling Stone that he had just written his first song about a “guy that wears a tie.”  The songwriter had spent much of his career writing about characters struggling in tough economic times, but the financial crisis convinced him it was time to write about the people and forces that brought America to this ugly point.
The result was Wrecking Ball, a scathing indictment of Wall Street greed and corruption and a look into the devastation it has wrought. “This is as direct a record as I ever made,” Springsteen tells Rolling Stone. “That’s with the possible exception of Nebraska, which this record has a lot in common with.”
The stark subject matter is paired with an experimental sonic palette that Springsteen created with producer Ron Aniello. “The record basically started out as folk music – just me and a guitar singing these songs,” says Springsteen. “Then Ron brought a large library of sound that allowed me to explore – like  maybe a hip-hop drum loop or country-blues stomp loop. The actual drums came later. There was no preconceived set of instruments that needed to be used, I could go anywhere, do anything, use anything. It was very wide open.”
Album opener “We Take Care of Our Own” poses a question: Do Americans take care of their own? The songs that follow make the answer clear: The narrator of the slow waltz “Jack of All Trades” struggles to find work, while the anti-hero of the country-folk stomper “Easy Money” decides to imitate “all them fat cats” on Wall Street by turning to crime. The similarly uptempo “Shackled and Drawn,” meanwhile, offers a political analysis worthy of Woody Guthrie: “Gambling man rolls the dice, workingman pays the bill/ It’s still fat and easy up on banker’s hill/ Up on banker’s hill, the party’s going strong/ Down here below we’re shackled and drawn.”
The album’s themes shift midway through, as economic despair gives way to a quest for spiritual redemption.  It ends on a hopeful note with the ambitious “We Are Alive.” The song takes on an Irish-wake feel, as Springsteen celebrates Americans (and aspiring ones) who died fighting for progress: “I was killed in Maryland in 1877/ When the railroad workers made their stand/ I was killed in 1963 one Sunday morning in Birmingham/ I died last year crossing the Southern desert my children left behind in San Pablo… We are alive/ And though we lie alone here in the dark/ Our souls will rise/ To carry the fire and light the spark/ To fight shoulder to shoulder and heart to heart.”
There are genuine musical surprises throughout. The cinematic “Rocky Ground” expands on the hip-hop-inspired vibe of “Streets of Philadelphia,” while prominently featuring the voice of gospel singer Michelle Moore, who even delivers a brief, apparently Springsteen-penned rap. “Death To My Hometown”  is a Celtic-influenced foot-stomper that wouldn’t sound out of place on a Dropkick Murphys album. “We Are Alive” borrows the horn riff from Johnny Cash’s “Ring Of Fire,” while “Land Of Hope And Dreams” (originally written and played live with the E Street Band in 1999) has been re-worked with electronic drums and a gospel choir.
“Hope and Dreams” also has a saxophone solo by the late Clarence Clemons. The Big Man’s sax can also be heard on “Wrecking Ball,” alongside trumpeter Curt Ramm – who will be in the five-piece horn section (which also includes Clemons’ nephew Jake) that will be hitting the road with Springsteen on his upcoming tour.

Read more: http://www.rollingstone.com/music/news/exclusive-bruce-springsteen-explains-his-experimental-new-album-20120217#ixzz1mhDOFoNd

Angry Springsteen Gauges Gap Between American Dream & Reality

16 February 2012 – 21H53

 Bruce Springsteen performed at the Staples Center during the 54th Grammy Awards in Los Angeles, California, on February 12. Springsteen’s latest album “Wrecking Ball”, presented to journalists in Paris on Thursday ahead of release on March 6 and a US and European tour, is a tableau of the American Dream that has gone horribly wrong.
Anger at unfettered greed, sympathy for the poor and the unemployed, and gospel-style appeals for hope are the emotional threads that run through the 17th studio album in Springsteen’s 38-year career.

Springsteen said America had become a society where “people were locked into the strata under which they were born”.

“We’ve destroyed the idea of an equal playing field,” he said.

That’s a big promise that’s been broken. There’s a critical mass point where a society collapses, and you can’t have a civilisation with a society that’s as factionalised as that.”

The 11-track album kicks off with the already-released “We Take Care of Our Own”, which contrasts glib patriotic slogans with the dour reality for Americans fighting to keep a job or save their homes from foreclosure.

Other tracks pour bile over the “robber barons” of the financial system and wave an angry fist at anonymous corporations, able to destroy a town without a shot being fired.

“The banker man grows fat / The working man grows thin / It’s all happened before and it will happen again,” says “Jack of All Trades”, which adds, “If I had me a gun / I’d find the bastards and shoot ‘em on sight.”

Springsteen said the album was triggered by the 2008 financial crisis, which he said was a culmination of three decades of deregulation and unbridled profiteering.

Until the Occupy Wall Street movement began last year, no-one was even deemed accountable for the disaster, he said.

“A basic theft had occurred that struck the heart of just what the entire American idea was about, really. It was a complete disregard of history, of context, of community, and all about, ‘what can I get today?’.

“So it was an enormous faultline that cracked the American system wide open, and its repercussions were really just beginning to really be felt,” he said.

Springsteen said he had always had a close interest in inequality and unfairness in America and hit at those who chose to misinterpret his lyrics as unpatriotic, as happened in the 1984 classic “Born in the USA”.

“There is a feeling of patriotism underneath (…) in my best music, but at the same time, it’s a very critical, questioning, often angry sort of patriotism,” he said.

“That’s not something that I’m prepared to give up for fear that someone might simplify what I’m saying.”

He added: “My work has always been about judging the distance between American reality and the American dream. How far is that at any given moment?” he said.

The first part of the album — “very angry, particularly”, said Springsteen — cedes to songs that have an almost biblical feel in their longing for hope, solidarity and salvation.

Asked about this, Springsteen referred to a working-class Catholic childhood in New Jersey, where he lived next door to a church.

“I got completely brainwashed as a child with Catholicism,” he said. “(…) It’s given me a very active sense of spiritual life — and made it very difficult sexually,” he quipped.

In musical terms, the album borrows on folk, gospel and 1930s recession songs for what Springsteen described as “historical resonances” to convey social themes.

One of the strongest tracks is “Land of Hope and Dreams”, an anthem that feels rooted in the “Born to Run” album that propelled Springsteen to stardom in 1975.

It notably features the blasting saxophone of Clarence Clemons, aka “The Big Man”, a close friend of Springsteen who died last year from complications of a stroke. Clemons’ nephew, Jake Clemons, has been rostered to play sax on the upcoming tour, opening in Atlanta on Saturday.

“Losing Clarence is like losing something elemental. It’s like losing the rain, you know, or air,” Springsteen said.

“That’s a part of life. The currents of life affect even the dream world of popular music. There’s no escape.”

Tenor Sax Player Was Fundamental to Springsteen’s Meteoric Career

The Irish Times – Saturday, July 2, 2011

Clarence Clemons: CLARENCE CLEMONS, who has died aged 69, was a saxophonist and, as a key member of Bruce Springsteen’s E Street Band, a highly influential rock musician of recent decades.

His imprint was all over Springsteen’s defining Born to Run album of 1975. Almost as much as the music, it was the sleeve image of Springsteen leaning nonchalantly on Clemons that symbolised the intense fraternal bonding which helped fuel Springsteen’s rise. Throughout the years of their greatest success, Clemons was a vital ingredient of Springsteen’s sound and an invaluable onstage foil to the “Boss”.

Clarence Clemons was born in Norfolk, Virginia, the eldest of the three children of Thelma Clemons and her husband Clarence, who owned a fish market. His parents worked long hours and were devoutly religious, and the young Clarence cut his musical teeth with the local church choir and in a gospel group. He used to help out with the family fish business after school, and shouldered some domestic responsibilities while his mother took a college course. “I didn’t have much time for childhood innocence,” he said later.

He began playing the saxophone after his father bought him an alto instrument one Christmas, and enrolled him in music lessons at a local college. He switched to the baritone sax, but decided the tenor sax was the way to go after feeling inspired to imitate the playing of King Curtis. He was also a keen football player, and won a football and music scholarship to Maryland State College. It looked as if he might be destined for a sporting career, but his footballing hopes were crushed by a serious car accident.

He had gained musical experience by playing with an R&B covers band, the Vibratones, and also played with Tyrone Ashley’s Funky Music Machine, an outfit featuring future members of Parliament-Funkadelic. Clemons moved to Newark, where he took a job as a counsellor to emotionally disturbed children at the Jamesburg Training School for Boys, while playing in clubs by night.

He was moving among the same circle of local musicians as Springsteen, and first ran into him when they were both playing in separate bars in the resort of Asbury Park. Clemons went to check out Springsteen and asked if he could play sax with him. Springsteen invited him to join in on a version of Spirit in the Night . “I sat in with him that night,” Clemons told People magazine. “It was phenomenal. We’d never even laid eyes on each other, but after that first song he looked at me, I looked at him, and we said ‘This is it’.”

By now Clemons had married and fathered two sons, Clarence III and Charles, by his first wife, but the union quickly became a casualty of his decision to quit his job and join the E Street Band.

Clemons stayed the course for Springsteen’s first couple of commercially unsuccessful albums, Greetings from Asbury Park, NJ, and The Wild, The Innocent the E Street Shuffle (both released in 1973), before the band-leader exploded into stardom with Born to Run (the story of how Clemons joined the E Streeters was alluded to in the song Tenth Avenue Freeze-Out ). Clemons’s saxophone featured prominently on Thunder Road, Jungle-land and Born to Run itself, and his background in R&B and soul lent an authentic earthiness to the soul-band feel of the E Street crew in their early days.

Clemons became an E Street mascot, his 6ft 4in bulk contrasting with that of the Boss onstage. His playing lit up some of Springsteen’s best-known pieces, including Badlands, The Ties That Bind, Independence Day and Bobby Jean. After the colossal success of the 1984 album Born in the USA and the follow-up, Tunnel of Love (1987), Springsteen decided he wanted a change, and in 1989 told the band members they were no longer required. Clemons was shocked, though for some years he had been pursuing musical directions of his own. Indeed, when he received Springsteen’s call, he was touring in Japan with Ringo Starr.

Clemons had formed his own band, the Red Bank Rockers, in 1981. An album, Hero , included a duet with Jackson Browne, Y ou’re a Friend of Mine , which became a Top 20 hit. He also played on Aretha Franklin’s 1985 hit Freeway of Love.

In 1999, Springsteen saw the error of his ways and recalled the E Street Band to his side for a reunion tour. The Rising (2002) was the first album he had made with the full E Street squad since Born in the USA.

Springsteen and the band were prominent on the Vote for Change tour in 2004, which aimed (unsuccessfully) to put a Democrat in the White House, and the E Streeters were also united behind Springsteen for the albums Magic (2007) and Working On a Dream (2009). In between, Clemons found time to perform with the band Temple of Soul. “We have one life and that life is on that stage,” he said. “Everything else doesn’t matter because we don’t know what’s going to happen.”

In 2009 Clemons published his autobiography, Big Man: Real Life Tall Tales, which was hailed by the former US president and part-time saxophonist Bill Clinton as “an essential read for any music lover”. Clemons played on several tracks from Lady Gaga’s 2011 album Born This Way , and performed with her on the television show American Idol.

He had been experiencing health problems. He had two knee replacements in 2008, and also needed spinal surgery. He suffered a serious stroke earlier this month.

On his website, Springsteen wrote: “He was my great friend, my partner, and with Clarence at my side, my band and I were able to tell a story far deeper than those simply contained in our music.”

Clemons is survived by his sons Clarence, Charles, Christopher and Jarod, and his fifth wife, Victoria.


Clarence Anicholas Clemons: Born January 11th, 1942; died June 18th, 2011

Springsteen, Van Zandt Salute E Street Band Saxophonist Clarence Clemons

E Street Band guitarist Steve Van Zandt will salute his late bandmate, saxophonist Clarence Clemons, on his Sirius XM Radio channel on Friday.

The two-hour special on Little Steven’s Underground Garage channel will start at 4 p.m. Pacific time (7 p.m. Eastern) and will cover Clemons’ storied career playing alongside Bruce Springsteen in concert and in the recording studio, as well as his outings apart from the E Street Band.

The latter includes his prominent part on Aretha Franklin’s Grammy-winning 1985 hit “Freeway of Love,” his duet the same year with Jackson Browne “You Are a Friend of Mine,” and a collaboration with Mott the Hoople frontman Ian Hunter on “All of the Good Ones Are Taken.”

Van Zandt also plans to incorporate interview segments with Clemons and audio excerpts from  movie and TV appearances he made, such as in “New York, New York,” “Diff’rent Strokes” and “The Wire.”

Clemons died at age 69 on June 18, six days after suffering a stroke at his home in Florida. A few days after his death, Springsteen delivered a eulogy at a private service for Clemons, and in it he hinted that the E Street Band will find a way to continue:

My pal was a tough act but he brought things into your life that were unique, and when he turned on that love light, it illuminated your world.  I was lucky enough to stand in that light for almost 40 years, near Clarence’s heart, in the Temple of Soul….

“C” always knew how to live. Long before Prince was out of his diapers, an air of raunchy mysticism ruled in the Big Man’s world. I’d wander in from my dressing room, which contained several fine couches and some athletic lockers, and wonder what I was doing wrong! Somewhere along the way all of this was christened the Temple of Soul; and “C” presided smilingly over its secrets, and its pleasures. Being allowed admittance to the Temple’s wonders was a lovely thing. …

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

So, I’ll miss my friend, his sax, the force of nature his sound was, his glory, his foolishness, his accomplishments, his face, his hands, his humor, his skin, his noise, his confusion, his power, his peace. But his love and his story, the story that he gave me, that he whispered in my ear, that he allowed me to tell … and that he gave to you … is gonna carry on. …

I won’t say goodbye to my brother, I’ll simply say, see you in the next life, further on up the road, where we will once again pick up that work, and get it done.

The full text of what’s described as “a slightly revised version” of the eulogy has been posted on Springsteen’s website.