The Big Man Was a Friend of Mine

Clarence Clemons was known as the Big Man, largely because at 6 feet, 5 inches tall and 270-plus pounds, he was literally a big man. But the nickname was appropriate because on stage, Clarence had a presence that was bigger than life. He wasn't showy or over the top like some other rock stars — including his bandleader and friend, Bruce Springsteen. But he was always cool, always just to Bruce's right, waiting to pick up his sax and do his thing. And when Clarence got up to play ... Wow. This man of few words, this gentle giant, let his instrument do all the talking. When Clarence took center stage for one of his solos, it was a transcendent experience. Every time you heard "Jungleland" live, it was awe-inspiring. Stunning. Powerful. An out-of-body experience. One of my favorite parts of any Springsteen show.

So it goes without saying that the loss of Clarence Clemons Saturday night, due to complications from a stroke one week earlier, was a huge loss — for the music world and for me personally.

I'll never forget the first time I saw Springsteen and the E Street Band live. It was the 1999 reunion tour, in Boston, at what was then known as the FleetCenter. Somehow, my friend Holly and I were able to score third-row center seats. (I'm still not sure how we did it.) Even though I was not as huge a Springsteen fan then as I am now, the show was incredible. Of course, any show would be incredible from those seats, but a Springsteen show? You have no idea.

At the end of the concert, as everyone was applauding and cheering wildly, I stood there directing my applause in Clarence's direction, and mouthing the words "thank you." Clarence looked right back at me, put his hands together, and gave me a sort-of swami salute, slightly bowing in my direction. It was his way of saying "you're welcome." And sure, he was doing this a lot, and in different directions, to acknowledge everyone in the arena. But it didn't feel that way to me. At that moment, Clarence was connecting with me, and me alone. There was no one else in the FleetCenter. It felt special, even if it was hardly unique. How cool is it that Clarence made me feel this way in a room full of thousands of other people. I was a changed man after that concert.

No wonder fans feel such a deep connection to Springsteen, the E Street Band, and Clarence himself. The Big Man wasn't just a musician, or a performer. He was a friend. There's a reason that when Bruce was introducing the band in concert, Clarence was always last — even after Patti Scialfa, Bruce's wife. There's a reason that when Bruce played "Tenth Avenue Freeze-out" with the Band at his Rock & Roll Hall of Fame induction, he said, "This is the important part" before he sang the "Big Man joined the band" section. Clarence was someone we rooted for, cheered louder for, felt loyal to. He gave as much to us in his performances as we gave to him. Clarence was not just the Big Man, he was the man. The foundation. A rock. He was irreplaceable.

When I remember the Big Man that was Clarence Clemons, I'll remember his soulful contributions to songs like "Jungleland," "Tenth Avenue Freeze-out," "Rosalita (Come Out Tonight)," and others. But I'll remember that hot August night more, and how that one concert experience turned me into an E Street fan for life.

Thank you, Clarence. I'll miss you.

Life Was Good

Generally, I'm not a fan of New Year's Eve, but this year especially, I'm not looking forward to it at all. You see, unlike many people I know, and contrary to general trends in the economy, 2009 was a great year for me. Really and truly it was. So perhaps I jumped the gun when I called 2008 "The Year of Martin" because I enjoyed 2009 so much more.

Here are some of the reasons why.

2009 was the year I started a new job. And yes, I know you're not supposed to make your job the source of so much happiness, but I can't help it. I feel truly lucky to have a) found a new job, b) found this job, c) found a job at this company, and d) found a job with these people — ones who love argyle, golf, and cupcakes as much as I do. Every day I go to work happy, and every day I leave happy. I couldn't say that a year ago.

2009 was the year I started going to concerts again. There was a single week in April when I saw Flight of the Conchords, Lily Allen, and Bruce Springsteen (twice!). But I also saw Dave Matthews Band on night one and night two of their Fenway shows, Billy Joel and Elton John, Kelly Clarkson, Train, Joshua Radin, and yes, Bruce Springsteen for a third time.

2009 was the year I finally got an iPhone after two years of wanting one, and upgraded my TV, but more significantly, it was the year I finally got a new car after nearly 11 years with my old one. Another exciting acquisition: my Slanket.

2009 was the year I started cooking again, and ate ... if not better, then at least more: there was a munchkin-eating contest, an all-you-can-eat chocolate buffet, and the Old Country Buffet. So much for my plans to lose weight.

2009 was the year I traveled a lot (at least for me). I went to Miami, Washington D.C., New York, and Chicago for work, but I also spent my own personal time in Florida and Chicago (plus two days in Michigan City, Indiana, for Fourth of July).

2009 was the year I got to sit on a jury and deliberate a case — and I actually enjoyed it.

2009 was the year I said goodbye to one of my favorite singers and hello to a brand-new president.

2009 was the year I got to interview John Stamos.

2009 was the year my niece, Abby, came to visit me in Boston three times: New Year's weekend, Labor Day weekend, and Christmas weekend. So what if she wasn't a fan of my Slanket; by the end of the year she was saying my name over and over and over.

In short, 2009 was the year I was happy.

And that's why, when the clock strikes midnight tonight, I'll be the one raising a glass not to the future but to the past. I think it's safe to say that by comparison, 2010 is going to suck. (Though I hope not.)

Happy New Year!

He's the One

It was a hot night on Saturday at the Comcast Center (formerly the Tweeter Center, formerly Great Woods), but just like he's done so many times before, Bruce Springsteen brought the power and didn't let a silly little thing like 80-degree-plus heat get in the way of a great show. He even replaced his familiar call of "Is there anybody alive out there?" with "Is it hot enough for you?" But that wasn't the only departure from the script — he frequently shook up his planned setlist, playing songs out of their intended order and inserting a few extra requests along the way. It added up to an experience that felt significantly different from the shows I saw back in April (night one and night two).

Most noticeable for anyone who'd seen one of the earlier shows was the lack of an overall theme. The "Seeds" and "Johnny 99" pair was still there, as was "Hard Times (Come Again No More)," and Bruce still did his schtick about building a house during "Working on a Dream," but the schtick was cut in half, kept brief, and not overdone. Like last summer's show at Gillette, this show was less about promoting a new album (he only played one other song from Working on a Dream, "Outlaw Pete") and more about pleasing the fans. So in place of these reminders of how hard the times are, we got a handful of summertime party tunes: "Rosalita" and "Hungry Heart." "Dancing in the Dark" (complete with a little girl brought up on stage to dance). The audience-requested, temperature-appropriate "Burning Love." A Detroit medley of soul tunes, like "Devil with a Blue Dress" (inspired by an audience member's blowup doll in a blue dress with devil horns that caught the band's eye). And the evening's closer, "Twist and Shout."

Song after song after song, Bruce performed these and other classics like he was doing so for the first time, never relenting on the energy or enthusiasm (frequent drinks and douses by a wet sponge surely helped). Openers "Jackson Cage," "She's the One," and "Working on the Highway," the excellent "Backstreets," and Jimmy Cliff’s "Trapped" (another audience request) all were great. Thrown into the mix as an audible was the beautiful "If I Should Fall Behind" (dedicated to a couple in the audience who had seen Bruce 224 times — no kidding). And yes, he also played concert mainstays like "Lonesome Day," "Badlands," "Waiting on a Sunny Day," and of course, hands-down, the best six minutes in live music, "Born to Run." And it was all a thrill, as always.

And then, as if the show couldn't get any better, Jay Weinberg, Max's son (who turns 19 in a couple weeks), slipped behind the drum set for the encore, doing as he did back in April and taking the show to more exciting heights. I've said it before and I'll say it again: That kid can play.

So, another reliably good Springsteen show. How he and the E Street Band (making its first appearance in Mansfield, by the way) kept things going for just shy of three hours in that heat, I don't know. I mean, the guy's turning 60 next month(!!) and it's not like he was wearing shorts and a t-shirt like I was. But suffice it to say, it was worth the sweat.

This One Was For Us

Where to start about night two of Bruce Springsteen's two-night homestand at the TD Banknorth Garden? The show was longer (just about exactly three hours); it had more of an emphasis on his older, less mainstream material; the band covered "I Wanna Be Sedated"; I had a better seat; and man oh man, can that Jay Weinberg play! And as if that wasn't enough, the Dropkick Murphys joined Bruce on stage for the encore, amping up an already boisterous "American Land." Oh, and did I mention Jay Weinberg and his amazing skills on the drums? Wow.

Yes, night two featured some of the same thematic elements and schtick as night one (including the same jokes about Patti Scialfa falling off a horse not being related to Madonna's similar fall), but it also featured a different-enough set list that, for me, made it feel like an entirely different show. (Check out the handwritten set list below; it looks like the show could have been even more different.) It was great to hear "Spirit in the Night," "Thunder Road," "Glory Days," and especially, "Jungleland," during which Clarence Clemons did another one of his awe-inspiring solos. I continued to be impressed with "Outlaw Pete," and loved the way the simple effect of smoke made the song so much more dramatic. I was intrigued by how little Bruce played off Working on a Dream (only three songs tonight; "The Wrestler" took the night off). Oh, and did I mention Jay Weinberg yet?

When Max goes off to serve as Conan O'Brien's bandleader on The Tonight Show in June, 18-year-old Jay (his son) will be sitting in full-time on the drums. Until then, Jay comes out for four songs at the end of the first set. Both nights, he ratcheted up the energy level instantly, picking up the tempo and taking "Radio Nowhere" to places unknown, and making "Lonesome Day" more hard-driving than ever. The kid can really pound those drums, and you got the sense Wednesday night that as good as Max is, he felt like he had to raise his game during the encore, which he did on "Land of Hope and Dreams." Jay was back for "American Land" and "Glory Days," and wow ... he just goes nuts on those drums. I know it's sacrilegious to say, but I'd love to see the E Street Band when Jay plays full-time. What exciting shows those will be this summer.

Not that this one was lacking for excitement. There was the Dropkick Murphys' surprise appearance for one thing (bummer, they didn't do "Shipping Off to Boston" or "Tessie"), and the granted audience request of "I Wanna Be Sedated" for another. (For the record, if you're interested, the other two requested songs were "Spirit in the Night" and "For You," both from Greetings from Asbury Park.) Then there was one extra song tacked on to the end of the show after "Glory Days." Then, of course, there was "Born to Run" again. I swear, if you've never seen Bruce live, and never experienced the sensation of hearing the opening chord, seeing the house lights go up, and watching as the entire audience raises their fists and sings along to every single word, then you just have no idea how transcendent live music can be. Springsteen gets the entire audience in the palm of his hand, and he just whips everyone into a frenzied state. It's awesome. It makes the entire show and every penny you pay for it completely and totally worth it, no matter how many times you've seen it.

I've never been to two Springsteen shows two nights in a row (here again is my night one review), but I'd definitely do it again. On his way off stage, Bruce said this to the crowd: "You guys never disappoint. You still stoke the fire in our belly when we get here." The feeling is mutual. I'm going to remember this week for a long time, and I'll be counting the days till Bruce comes back again.

(Again, the concert photos are courtesy of Backstreets.com.)

Meet Him in the Land of Hope and Dreams

"I will provide for you, and I'll stand by your side," Bruce Springsteen sang at one point during his show Tuesday night at the TD Banknorth Garden. "You'll need a good companion for this part of the ride." Over the course of almost three hours, Springsteen was that companion, taking the audience through hard times and to salvation, raising us up on his shoulders, and showing us that there are brighter days ahead. As always, it was a thrilling, exciting, exhausting show, one that was light on promotion for his latest album and heavier on barn burning revivalism.

What more can really be said about Springsteen concerts than I have already said in previous postings? Whenever I see him live, I'm always reminded of Bono's speech when he inducted Bruce into the Rock & Roll Hall of Fame: "They call him the Boss. Well that's a bunch of crap. He's not the boss. He works for us." And how. No one in music works harder, puts more into a show, exceeds every expectation, and does it night after night after night after night. The man is just amazing. No wonder he's my favorite live performer. And that band! The "heart-stopping, pants-dropping, hard-rocking, booty-shaking, earth-quaking, nerve-breaking, history-making, legendary" E Street Band never lets him down, even on songs they haven't performed in more than 20 years.

I'm talking about ZZ Top's "I'm Bad, I'm Nationwide," which Bruce performed for the first time since 1987 (which was, of course, when he was on a hiatus from the E Streeters; he performed it with the band in 1984). It was one of his audience requests, and even on that, the band wasn't stumped. This middle part of the show — when Bruce takes signs from the audience and plays some of the better requests — is a definite highlight these days and I always love seeing what he picks. Other requests Tuesday night included "I'm Going Down" and "Growin' Up."

But back to that message of hope and salvation. The setlist on this tour has a definite theme to it, with a section early on that includes "Seeds," "Johnny 99," and, especially, "The Ghost of Tom Joad" calling to mind the struggles that so many are facing today. But for every song that talks about struggle, there is another that talks of redemption. Those three songs were answered by "Waiting on a Sunny Day," "The Promised Land," and, in the encore, "Land of Hope and Dreams." Bruce also sings the more pointed "Hard Times (Come Again No More)," which seems to sum it all up right there. In this context, some songs, like "The Rising," have even more meaning, and others, like "Born to Run," mean something different ("Someday, girl, I don't know when, we're gonna get to that place where we really want to go, and we'll walk in the sun").

Of course, this was still a Bruce Springsteen show, and it had all the hallmarks: incredible musicianship (by Nils Lofgren and Max Weinberg's son, Jay, especially), enthusiastic crowd participation, and no distractions. In fact, with the exception of a smoke machine that was employed during "Outlaw Pete," there was no set or special effects. Just Bruce, the band, and the music. And he played some great classics, like "Rosalita," "Adam Raised a Cain," "Badlands," "Tenth Avenue Freeze-Out," and, of course, the highlight of any concert, "Born to Run." No matter how many times the guy plays that song and no matter how many times I hear it, it never gets old.

No surprise: Bruce came, he saw, and he conquered, just like he's done so many times in the past. He's just an amazing performer, and no amount of hyperbole can adequately get that across. Tuesday night's show was just the latest in a long line of impressive evenings. I wonder what Wednesday night's show has in store. Good thing I'll be there to find out.

(Thanks to Backstreets.com for a couple of the photos you see here.)

Update 4/23: Here's a link to my night two review.

Best. Halftime. Show. Ever.

Bruce definitely lived up to the hype. Here is his halftime show (in two parts) if you missed it ... or want to watch it again.

Ready for BRUUUUUUUUCE !!!

"We want it to be a 12-minute party," Bruce Springsteen said during a press conference on Thursday to talk up his performance this Sunday during the Super Bowl halftime show. "The idea of the show is, you are going to the Meadowlands, you get lost on the way. You are watching your clock, 'Damn, the show is starting right now.' You stop at a bar to get some directions, and the bar gets held up while you are there. So that takes another 45 minutes to get out of there. You come back and you miss your exit on the turnpike, and you are driving to get back around. And so you make it into the stadium 2 hours and 48 minutes into the show — that's what you are going to see: the last 12 minutes."

And to think ... I was already looking forward to Bruce before. Now I'm even more excited.

An Old, Broken-Down Piece of Meat

In the simply-named The Wrestler, Mickey Rourke plays Randy "The Ram" Robinson, a washed-up loser who longs for his 1980s wrestling heyday and is having a tough time dealing with the silence that now surrounds him. Darren Aronofsky's beautiful, haunting film is a devastating portrait of this man, left alone to suffer, who claims he only hurts when he's in the ring, but who can't help but hurt otherwise. He longs for connection — with fans, with a stripper friend (Marisa Tomei), and with his estranged daughter (Evan Rachel Wood) — but none comes easily to him, and he refuses to be counted out, even when all the odds are against him.

Shot mostly with hand-held cameras, The Wrestler asks viewers to get closer to Randy than anyone in the film gets to him, to watch as the euphoria of his sport quickly turns to blood and injury, and when that's gone, to watch as Randy sinks to the humiliation of working at a supermarket deli counter. It's not easy stuff to watch, but Rourke makes you really care for the guy and root for him. Is it because of the actor's own backstory? Sure. That has to play into it. And when Randy gives his climactic speech thanking the fans for their support, you try not to shed a small tear. It's a perfect match of actor and role, and you'll be mesmerized by Rourke's performance. He's that good. Oh, and as if that's not enough, when the screen goes to black, Bruce Springsteen's title song begins. What a great way to end a great movie. The Wrestler is one of the year's best. I'm giving it an A–.

Booooooo from Bruuuuuuce

If you haven't heard yet, Bruce Springsteen has posted a free song for Halloween on his Web site. It's a bluesy riff called "A Night with the Jersey Devil" and you can download it right here. There's also a video that you can watch at BruceSpringsteen.net. Enjoy, and again, happy halloween!

Quick Thoughts

For the past few weeks, due to construction, the outbound B-line has been stopping at Lake Street and not going all the way into the Boston College T stop. I'm surprised no one's been hit by a car yet.

I recently started using vanilla-flavored toothpaste, and I really like the taste of it. Is that wrong, or is that the whole point: that if I like the taste, maybe I'll brush more often.

I have nearly 325 friends on Facebook now. How did that happen?

Bruce Springsteen's in the neighborhood this weekend dropping his kid off at BC. I wonder what the chances are that I'll see Bruce at White Mountain Creamery.

I love John McCain's choice of VP. Can someone just declare Barack Obama the winner now and spare us the next 65 or so days of campaigning?

For the first time in about eight years, I'm living on Comm Ave on Labor Day weekend. Oh, the horror. I guess summer's officially over now.

Any chance Dustin Pedroia is going to be the AL MVP this year? I sure think so. (And just fyi: I've been saying this for weeks now. I'm not on the bandwagon — I'm leading it.)

The new 90210 starts on Tuesday night. Not sure I could be more excited.

Why can't every weekend be three days long?

Bruce Stopped the Rain

Early on during his show Saturday night at Gillette Stadium, Bruce Springsteen played a special request for "the coach," who apparently was in the crowd: Credence Clearwater Revival's "Who'll Stop the Rain." Well, for a while on Saturday, I was wondering the same thing. And silly me, because it became a non-issue. Like the Boss himself sang later in the show, "Don't worry Darlin', now baby don't you fret." Although it rained pretty hard at times during the afternoon and there was a heavy downpour again around 8:15, by the time Bruce and the E Street Band took the stage around 9:30, the sky was clear and there were stars out. It was perfect. So Bill Belichick, I think you have your answer: Bruce stopped the rain.

And not only did Bruce play weatherman, but more importantly, he also played host to a summertime fiesta of grand proportions. Unlike the show I saw in November, this one was more party than promotion, and songs from Magic generally played second fiddle to crowd pleasers like "Hungry Heart," "Tenth Avenue Freeze-out," "Spirit in the Night," and "She's the One." The show began with "Summertime Blues," which set the tone, and continued from there in largely upbeat fashion. Bruce spent as much or more time down in the crowd as he did on the stage, and at one point even took requests, which resulted in the appearance of rarities like "Does This Bus Stop at 82nd Street?" and a cover of "Little Latin Lupe Lu" (the first time the song had been performed with the band since 1977). Clearly, this was not a show for the Johnny Come Latelies. MVP honors went to Nils Lofgren, who tore it up on "Tunnel of Love" and "Youngstown," but Steve Van Zandt also killed on "Murder Incorporated."

What's truly amazing is that Barry and I had to leave unexpectedly at 10:45 and Bruce was putting on such a dense show that it felt so much later than that. We walked out to the sounds of "Mary's Place" and then "The Rising," and we regretted missing all the typical end-of-show highlights like "Born to Run" and "Badlands" (and "Rosalita (Come Out Tonight)," too, apparently). Ah well. Maybe we'll find a bootleg somewhere so we won't have to miss out entirely. But half of a Springsteen show is still better than no Springsteen show at all, and this was definitely one of the better nights of the entire summer.

(Thanks to Backstreets.com for the photos.)

He Worked for Our Love

A Bruce Springsteen concert isn't just any concert. It's practically a religious experience. And Sunday night's show at the TD BankNorth Fleet Boston Garden Center was no exception. This was, I believe, my fourth time seeing Bruce live (including the 1999 reunion tour when I had seats third row center, thisclose to the stage), and again, he didn't disappoint. Somehow I was able to get real good seats for Sunday's show — Loge level, center, facing the stage, right in between Bruce and Steve Van Zandt — and it was an awesome evening. (No surprise.)

Starting off with the 1-2-3 punch of "Radio Nowhere," "No Surrender" and "Lonesome Day," Bruce got the crowd pumped up, on their feet, and rocking. Another great 1-2 punch came midway with "Tunnel of Love" and "Working on the Highway." Other Magic songs like "Livin' in the Future" and (my favorite track) "Long Walk Home" worked real well live, and it was great to hear old favorites like "She's the One" and "Badlands" again. Also memorable was the rousing closer, "American Land" (and I loved how the lyrics were superimposed on the TV screens above the stage so we could all sing along). The band was really tight, and despite a wall of sound that was at times overwhelming (I can still hear the ringing in my ears), they sounded great. That said, songs like "Magic," that were quieter and slower, were definite highlights, if only because I could actually hear them. (Then again, what song wasn't a highlight?)

There were two truly transcendant moments, tho. One was Clarence Clemons' sax solo on "Jungleland" (which the band hadn't played in a month). Wow. It just blew me away. (Sorry. Bad pun.) But seriously, the power and the passion with which Clarence played was truly stunning. And the second thing was, of course, "Born to Run." Say what you will about how cliche the song may or may not be at this point, but the second you hear the first chord and see the lights come on, there's just nothing like it, no matter how many times you witness it. Yelling out the lyrics and fist pumping in unison with thousands of other fans is just one of those rare live experiences that few artists can duplicate. It's mind-blowing how much of a frenzy that song whips up, especially as the momentum builds and builds to that great line: "The highway's jammed with broken heroes on a last chance power drive. Everybody's out on the run tonight, but there's no place left to hide." I'll be hoarse in the morning from yelling/singing along so loudly. Good stuff. That one song makes the $100 ticket price worth it for me. And while I wish the order was reversed, for Bruce to go right from "Born to Run" into "Dancing in the Dark?" How much excitement can one person take??

I felt a little letdown that Bruce didn't do "Dirty Water," like he often does when he's in Boston, but maybe Monday night's audience will get to hear it. Still, the man works hard to put on a good show. There's no set, no fancy lighting, no choreography, no schtick, no lip-synching. There's not even a whole lot of stage banter (though Bruce did get a huge cheer when he said Boston was "Home of the World Champion ... ah, you know the rest"). Just good old fashioned classic live rock and roll, and there's no one better. As Bono said in 1999 when he inducted Bruce into the Rock and Roll Hall of Fame, "They call him the Boss. Well that's a bunch of crap. He's not the boss. He works for us." And how. Bruce worked hard Sunday night and ensured that everyone in the arena went home satisfied.

(By the way, most of the photos came from Backstreets.com.)

Glory Day

How great — and rare — is it when Ticketmaster works like it should? At 10am Monday I logged on to get my Bruce Springsteen tickets, and believe it or not, I got 'em. No problems. Piece of cake. I got right in and snagged a pair for Sunday night, loge level, right in front of the stage — before the scalpers could get all the good seats. According to Backstreets, apparently enough people complained about the original on-sale date — which was supposed to be Saturday, same day as Yom Kippur — that Bruce and/or Ticketmaster changed the on-sale date to Monday morning. That rocks. So, I've got no complaints about Ticketmaster this time. I just wanted to say a public WOO HOO!!!! I'm real psyched for this show. November 18 can't come soon enough.

Not Really a "Best" Buy

So here's what I don't understand. I went to the Fenway Best Buy Tuesday night to pick up Bruce Springsteen's latest release, Live in Dublin. It's out separately as a 2-CD set and a DVD, or you can buy the CDs and DVD together, with the same track listings. And I figured, since I had a $5 off coupon and new releases are usually on sale, that I'd spring for the combo pack. After all, the DVD looks great. Well, the 2-CD set was on sale for $11.99 and the DVD was on sale for $9.99, but the combo pack was still at regular price, $27.99. And when I asked a salesperson why buying the two items separately was cheaper than buying the combo, and why they weren't just charging the same price (i.e.: $21.99) for the combo, he told me, "You raise a good point." So I decided to only buy the CDs and save myself $10. I likely wouldn't have watched the DVD anyway, despite how good the clips on Amazon.com are. And what's more confusing is that on BestBuy.com, the combo is on sale, for just $19.99. Maybe it's something about moving units and not making money, but whatever it is, I just don't get it.