Daryl Hall brought his Spring 2022 tour to The Met in Philadelphia last night promoting his new 2-CD collection of songs titled Before After, which features a selection of his solo material compiled by Daryl himself.
I have been to many Hall & Oates shows but somehow missed out on Daryl’s previous solo concerts through the years, so this was my first time seeing him on his own. It was not only an emotional night for me because of the fact that Daryl is one of my musical heroes, but also because I celebrated the night with my longtime best friend, Chris Mohr, who had been living on the west coast until recently moving back to New Jersey. We both turned 50 in 2021 but didn’t get to celebrate together due to the pandemic, so Daryl’s concert doubled as our belated 50th birthday celebration. Daryl and his band, along with Todd Rundgren, made the evening magical.
The evening opened with a great set from Rundgren backed by the Live From Daryl’s House band. Hall’s set was also fantastic, featuring songs from his solo albums such as “Dreamtime,” “I’m in a Philly Mood,” and lesser-known solo gems such as “Sacred Songs,” and “Babs and Babs” from his collaboration with Robert Fripp.
Hall and Rundgren shared the stage for three songs: Rundgren’s “Can We Still Be Friends,” the Hall & Oates classic “Wait For Me,” and “Expressway to Your Heart,” a cover of the Soul Survivors hit.
The night concluded with the Hall & Oates masterpiece “You Make My Dreams,” the mega hit which recently reached the historic milestone of one billion streams worldwide on streaming services. If you’d like to catch Daryl on tour this Spring, check out the tour dates below.
Here’s a little taste of the show: https://www.youtube.com/watch?v=GtfYsz5nK3Q&lc=UgySRiPR4qVsGIiyWBV4AaABAg
I’m going to take a bit of a detour for today’s blog post. I normally write about concerts and rock musicians who I love, but I am also a die-hard fan of David Cronenberg’s 1983 sci-fi/horror motion picture masterpiece Videodrome, and today I want to share some huge news for my fellow Videodrome enthusiasts.
La-La Land Records and Universal Pictures will finally release Videodrome: The Complete Restored Score on CD in a limited edition production run of 2,000 units. Mondo will release a vinyl LP version which has already sold out, but the company recently tweeted that there will be another pressing.
This release marks the first time that Howard Shore’s original score from the movie will be available in any format. The original release of the film’s soundtrack was actually a remixed version of selections from the score, but this new release restores the complete score in its original form. Howard Shore has personally overseen the restoration. The restored score has been produced by Shore and Alan Frey, and was mastered by Simon Gibson at Abbey Road Studios.
I have been obsessed with Videodrome since the first time I saw it late at night on HBO sometime in the mid 1980s. I consider it to be Cronenberg’s finest, most relevant work. Long before virtual reality was achievable with today’s technological wonders, Cronenberg captured the awesome wonder and awe of the subject and, in true Cronenberg fashion, explored the horror that could ensue when the lines between the virtual world and the real world begin to blur.
The visuals of the movie — along with masterful performances by James Woods, Deborah Harry, and the rest of the cast — created an indelible, haunting vision that left me fascinated and in deep thought long after the credits rolled, and not just days later, but decades later. As much as Videodrome is a Cronenberg project (both written and directed by Cronenberg), I would argue that it is equally a Howard Shore project. The complete and total vision and impact of Videodrome could not have been fully realized without Howard Shore’s haunting, unsettling, fascinating score. His music paints the perfect aural landscape to match the bizarre visual world that Cronenberg so wonderfully created. In the same way that the Star Wars movies would not be the same without John Williams, Videodrome would not be the same without Howard Shore. I am thrilled that his original score is finally available. For more information, check out the links below.
Tears for Fears have released their new album The Tipping Point, their first new album since the 2004 release Everybody Loves a Happy Ending. It’s always a thrill for me when one of my favorite artists releases new material, but in this case I am ecstatic. It has been far too long without new music from Tears for Fears. Having grown up with their music in the eighties, I loved watching Tears for Fears grow and evolve as artists and constantly surprise and delight their fans with new musical directions while staying true to the essence of their sound.
A few years ago, their former manager had encouraged Roland Orzabal and Curt Smith to work with younger artists and producers in an effort to expose their music to a younger audience and pursue hit singles in this age of streaming. They did some “speed dating” sessions with some of those artists, but when they had assembled an album, Roland and Curt agreed that it wasn’t what they wanted, so they scrapped it. It had what they thought would be hit singles, but the album didn’t tell a story and wasn’t truly representative of what a Tears for Fears album should be. Tears for Fears amicably parted ways with their management and went back to the drawing board.
Roland and Curt got together for a writing session and the song “No Small Thing” emerged. That song was the impetus that convinced them that there was more music to come, and they continued working on other new songs that would become their brilliant new album The Tipping Point. I’m so glad that they stayed true to themselves and created an album that captures the essence of Tears for Fears. I listened to the album twice this weekend and can’t wait to give it another spin. It’s a beautiful work filled with meaningful, insightful lyrics and the trademark Tears for Fears sound and also evolves into new musical directions.
As for the hit singles that their former manager was looking for, The Tipping Point is packed with at least three songs that could be #1 hits if given the proper exposure. “Break The Man,” “Master Plan,” and “End of Night” all have hooks that will have you humming long after the music stops. But more important than hits and hooks, the songs on The Tipping Point carry weight and provide healing and hope for these crazy times.
Paul Sinclair at Super Deluxe Edition recently conducted an in-depth interview with Roland and Curt in which they discuss The Tipping Point. You can read the interview here: https://superdeluxeedition.com/interview/in-search-of-the-tipping-point-tears-for-fears-talk-to-sde/
It’s been a few years since I last listened to Paul Young’s superb 1985 album The Secret of Association. I recently bought an autographed copy of the 2-LP Music On Vinyl reissue from the fantastic superdeluxeedition.com. The signed LP is sold out but I highly recommend that you order the special edition booklet commemorating the album. It’s packed with interviews and commentary, and is still available at this link: https://superdeluxeedition.com/news/paul-young-the-secret-of-association-2lp-coloured-vinyl-reissue/
When I revisited this album again yesterday, I was stunned that I had almost forgotten about the track “Everything Must Change”. I remember hearing it only occasionally on the radio in 1985. This song should have been a #1 hit. Apparently it only reached #56 on the Billboard Hot 100 here in the United States, which is a damn shame because this is such a beautiful song. The Brits must have better taste in the case of this song, as the single reached #9 in the United Kingdom. Written by Paul Young and Ian Kewley, “Everything Must Change” is a rare gem of a song that contains lyrics that are as powerful and emotional as the music. Here’s a link to Paul performing the song on Top of the Pops. Enjoy!
Every once in a while I stumble upon an eighties song that I somehow neglected to appreciate at the time. I recently rediscovered the song “My Ever Changing Moods” by The Style Council. Originally released as a single, then as a 12-inch single in a longer version, and then again in a stripped-down, piano-and-vocal-only version on their album Cafe Bleu, “My Ever Changing Moods” could easily be on the list of greatest soulful pop songs in history.
What’s truly amazing about this song is how beautiful it sounds across multiple arrangements. Take some time and listen to the four versions below and behold the magic of this Paul Weller composition.
Original single version:
12-inch single version:
Version from the album Cafe Bleu:
2021 orchestral version by Paul Weller accompanied by Jules Buckley and the BBC Symphony Orchestra:
I just finished listening to the audio book version of Stevie Van Zandt’s memoir Unrequited Infatuations. I chose to listen to the audio book instead of reading the print version because the man himself, Stevie Van Zandt (a/k/a “Little Steven” and “Miami Steve”) narrates it. It would be more accurate to say the he performs the book as opposed to narrates it, because unlike many narrators, Van Zandt reads the book with an unmatched enthusiasm, vigor, and dedication that I have rarely encountered in an audiobook.
The audio version captures your attention immediately, right from the opening, and never relents. If you’ve ever imagined sitting down on a park bench with one of your musical idols and hearing all about their life, their trials and tribulations, their dreams, their goals, their adventures, and their life lessons, that is exactly how this audio book feels. It’s shockingly but refreshingly candid, and provides tremendous insight into his work with Bruce Springsteen and The E Street Band, Darlene Love, his solo music, his political activism, his acting career, his work with The Rock and Roll Hall of Fame committee, his Teach Rock foundation, and just about everything else you could possibly want to know. This book was such a thrill to experience. The time flies by. With the exception of Bruce Springsteen’s autobiography, I don’t think I have ever felt such exhilaration after finishing an audio book. Unrequited Infatuations is easily one of the best memoirs I have ever experienced.
If you have read this blog in the past, you already know that I mostly write about my two favorite musical heroes, Bruce Springsteen and Prince. So what the hell am I doing at a Jonas Brothers concert? Well, I don’t exclusively write about Bruce and Prince (see my other recent post about AJR’s stellar concert in Wallingford, CT). I listen to a wide variety of artists, but I admit that I always assumed that the Jonas Brothers were just another boy band, and I haven’t listened to terrestrial FM radio in many years, so their music wasn’t on my radar. That is until my teenage daughter started watching their old show on Disney+ and she fell for them hard. So of course I hear their songs all the time around the house now. The brothers are now her number one musical obsession right alongside another set of brilliant musical brothers, AJR.
My daughter, along with almost every other kid her age, had a rough 2020. The pandemic of course halted almost all social gatherings and she went to school remotely for three out of four marking periods of her freshman year of high school, finally going back in person for the last marking period. She worked hard and stayed on the Principal’s List, but despite having a loving family and friends, it was still a rough year. Shortly after our family got vaccinated, I found out that the Jonas Brothers were touring, and I made it my mission in life to take my daughter to see her boys.
If you haven’t been following the concert industry, you might not know about dynamic ticket pricing. I could write an entire book about this topic and how to use it to your advantage, but the quick version is that instead of tickets in certain sections of the venue having a fixed price, the ticket prices can change constantly based on supply and demand, just like prices from scalpers. I logged onto Ticketmaster every day of the summer and watched the prices in the first few rows of the pit change until they reached a price low enough for me to pull the trigger. Then one day, boom! I scored her tickets in the sixth row of the pit, dead center in line with Nick Jonas’ microphone. You can’t put a price on your kid’s happiness. Well, you can actually when it comes to concert tickets, but you have to work hard to make sure you don’t get robbed in the process.
So was it worth it? Let me explain it like this: One day in 2020, in tears, my daughter asked me, “Daddy, will things ever go back to regular normal?” The best honest answer I could give her was that yes, they would, but I couldn’t promise her when. I could only promise her that they would...eventually. Thursday night at the Jonas Brothers concert, I got to see her watch her musical heroes up close and hear her say, “Daddy! I made eye contact with Nick!” and I saw the same look in her eyes that I’m sure I have in mine at a Springsteen show. That look is priceless. So yes, that alone was worth it. The surprising part is that I myself enjoyed the show! Part of my enjoyment was of course seeing the show through my daughter’s eyes, but I also knew almost every song they played at the show because I had heard them at home for the last few years. Their songs have infectious hooks, creative bridges, and lyrics that make you feel something. And speaking of those lyrics, after a long time without being at a large-scale concert due to the pandemic, it was an absolute joy watching thousands of girls sing every single lyric along with the band during the show. Luckily the amps were louder than the girls, but not by much. The girls gave the amps a fight! I’m not saying they were as frenzied as a Beatles audience, but these are my daughter’s Beatles, and that’s why it was so much fun. Last but not least, I found out that the Jonas Brothers are Jersey boys, and I’ve had a pretty good run enjoying many, many concerts featuring a certain Jersey boy from Asbury Park, so maybe it’s something in the water in Jersey!
On September 25 my wife, daughter, and I took a road trip to The Oakdale Theatre in Wallingford, CT to see AJR’s concert, one of the stops on their OK Orchestra tour. The group isn’t scheduled to perform in our area until May 2022, so we decided to catch their Connecticut show now. We had never seen an AJR concert in person before, but we were captivated by their December 2020 live stream special One Spectacular Night. My daughter is the big AJR fan in our house, but after seeing that special and listening to their albums, my wife and I got hooked on AJR’s music too, so a family road trip made perfect sense.
You’ll see in the photo above that we were fortunate enough to meet the band (The Met brothers Adam, Jack, and Ryan) at a special pre-show event billed as “Ryan’s Production Masterclass” in which Ryan Met discussed the production of the band’s song “Way Less Sad” with a fun presentation showing his Pro Tools breakdown of the creation of the song. It was fascinating to see how AJR took a brief horn section from the last few seconds of the Simon & Garfunkel song “My Little Town” and turned it into an entirely new song of their own.
I often hear people complain about today’s music and argue about which — if any — of today’s new bands will still have fans coming to see them years or decades from now. After witnessing AJR’s spellbinding, incendiary concert at The Oakdale Theatre Saturday night, I am pleased to report that AJR will most certainly be one of those bands who will still have fans coming back to see them over and over again for decades to come. These guys are the real deal and they’re here to stay. Their songs feature superb production, excellent musicianship, and insightful, inspiring lyrics that leave you thinking about the songs and humming their unforgettable hooks long after the music stops.
It was truly a thrill to see AJR’s die-hard fans of all ages singing the songs at the top of their lungs for the entire night. In their live shows, AJR feeds off of the energy of the crowd and uses it to take their live performances to euphoric levels of intensity. In addition, they combine elements of theater, showmanship, humor, hope, and inspiration. I have rarely seen a show like this one and I’m not sure that I will again. These guys have something very special going on with their music and their audience, and I can’t wait to see what they do next. If you aren’t already familiar with their music, I highly suggest you check it out, and if you have a chance to see AJR in concert, make sure you go! For information about AJR, visit www.ajrbrothers.com.
I finally made it to Broadway to catch the 2021 version of Springsteen on Broadway. I normally hate to see the summer fly by, but this year I couldn’t wait for the calendar to hit August 18. The last time I saw Bruce live was August 7, 2019 when he played a brief set with Southside Johnny and the Asbury Jukes at the premiere party for the film Blinded By The Light which took place in Asbury Park, NJ. Two years between Bruce shows, as any Bruce fan will tell you, is way too long a time to wait to see Bruce live again. We always need more live Bruce, and we need it now!
I’ve seen some discussion online among fans over the last few months asking whether or not they need to see Springsteen on Broadway again if they already saw the show during its 2017-2018 run. I’m pleased to tell you that after seeing the August 18, 2021 show, I can emphatically and enthusiastically tell you that yes indeed my friends, if you have the opportunity to see the current run, you have to go!
I was lucky enough to attend three previous Springsteen on Broadway performances (October 2017, May 2018, and October 2018). While the August 18, 2021 show retained most of the core elements from the previous Broadway runs, a lot has changed in the world since the previous performances. I won’t get into specifics because I don’t want to spoil anything for you in case you attend, but I can at least tell you that the changes that the world has gone through in the last few years have definitely affected Springsteen on Broadway’s structure, but not in a way that feels out of place with the core narrative of the show. In fact quite to the contrary, Bruce’s adjustments to the show fit right into the narrative in a way that feels like updates to that core story, Bruce’s own story, and our story. The changes to the show reflect the journey that we have been on together all these years, and throughout that journey, Bruce didn’t just take us along for the ride; he often asked us really tough questions along the way, and dared us to search our souls to make the world a better place, and that is the case here with the adjustments to the show.
Bruce changes some of the musical nuance this time around here and there, and in some cases he even dropped a few songs from the 2017-18 run and replaced them with songs that (in my opinion) fit into the narrative better given what the world has gone through recently. His delivery of many of the stories, while mostly the same as in the previous run, are often delivered with new embellishments, or just a different feel or tone, while remaining true to the story that he wanted to tell the first time around.
Words can’t fully capture the exhilaration that I felt when Bruce walked onto the stage, but I’ll make a modest attempt. Due to the pandemic, I had not been to a live concert since August 2019 when I saw my last pre-pandemic concert, Hall & Oates. The two-year stretch of August 2019 through August 2021 is the longest I have ever gone without seeing a live show since I first began attending concerts (my first being Prince & The Revolution on the Purple Rain tour November 24, 1984 at The Spectrum in Philadelphia). I had a tremendous feeling of longing in my heart because of the absence of live music in my life. When Bruce walked back onto the stage the other night, it felt like seeing a lifelong friend after a two-year absence. My “great song traveler” musical hero (as another of my musical heroes Jackson Browne might put it) was back to share his songs of joy, sorrow, introspection, reflection, inspiration, and hope. To me, Bruce stepping out onto that stage gave me the same high that is typically only felt during a wedding, a birth of a child, or some other life-affirming event. It was a sign that life will go on, that there is hope for the future, and that our journey together over all of these years has meant something, and that the journey is not over.
And speaking of signs of hope, Bruce walked onto the stage wearing a mask, and later in the show thanked everyone in the building for doing the same and for protecting themselves and their neighbors at the show. Masks are now required for all audience members due to the Delta variant’s rapid spread. I didn’t see a single person without a mask in the audience. It almost felt like a different world. A world in which wearing a mask to protect each other was not a political idea, but a common decency and an act of love towards our fellow citizens. I felt hope and sadness at the same time. I felt hope because if this entire building of people could wear a mask to just to see Bruce, maybe the whole country can find it in their hearts to wear masks to protect their fellow citizens until this pandemic is truly over. I felt sadness because if everyone in the country had been wearing masks all along, the pandemic might already be over. But the feeling of hope outweighed the sadness because for just one night, everyone in attendance had come together, all masked up, with a common goal: To see Bruce Springsteen perform what he calls his “magic trick”. If Bruce is indeed a magician, there will never be one greater. This show is living proof. I hope that you get to experience it. I will never forget it.
Prince and the Parade & Sign “O” The Times Era Studio Sessions 1985 and 1986 is the second book in author Duane Tudahl’s superb series titled The Prince Studio Sessions. Coming June 7, 2021, the 728-page hardcover picks up right where the previous volume left off. A day-by-day, chronological record of Prince’s recordings and performances during the years 1985 and 1986, this book covers recording sessions that resulted in not only Prince’s Parade and Sign “O” The Times albums, but also tracks that would go on to be released on Jill Jones’ debut album, Sheila E’s second album, the debut album by BrownMark’s group Mazarati, the first Madhouse album, The Black Album, and many tracks that would not see the light of day until the 2020 release of the Sign “O” The Times deluxe box set. Many of the songs, including songs from Prince’s jazz project known to fans as The Flesh Sessions, remain unreleased.
As he did with his first book in this series, author Tudahl crafted a pleasantly exhaustive and authoritative labor of love in the same manner that one might go about assembling a puzzle. He researched recording studio session logs, interviewed band members, recording engineers, and other Prince associates, and includes pieces of previously published interviews as well as brand new interviews and assembles all of these pieces of the puzzle to provide the reader with the closest thing that we will ever get to a being a fly on the wall during the creation of Prince’s music. The interview segments often correspond specifically to the time period or song that is being discussed, incorporating all of the interview commentary into the chronological format that documents the two years covered in the book.
As with the first volume, the book avoids gossip and sensationalism. Tudahl only discusses Prince’s personal life when doing so will provide direct insight as to Prince’s frame of mind at the time that he recorded certain songs. In addition to the interviews with others, Tudahl provides many quotes from Prince himself taken from the time periods covered in the book. By adding Prince’s own words to the story in a context and chronological manner that complements the recording studio log session dates, Tudahl provides a balanced collection of quotations from Prince and those who worked with him at the time to provide as comprehensive an examination as possible of the recording sessions and Prince’s life during these two years.
With the experience of the first book behind him, and happily due to the success of the first book, Tudahl was able to interview even more Prince associates this time around than with the initial book. All of the additional interviews provide even more in-depth insight here than with the first book, which itself was a masterwork. Now that Tudahl has proven his intent with these first two books to be honorable, as historically accurate as possible, and with the genuine purpose of further understanding Prince’s musical legacy, the floodgates should open in regards to accessibility to interview others who worked with Prince, and hopefully we will see even more books in this series covering additional studio sessions from other eras of Prince’s recording career.
If you love Prince’s music, this book is an absolute must-have. I can’t wait for the next volumes in the series.
Here are some links to buy the book:
If you’re familiar with the 33 1/3 series of books, you already know that each book takes an in-depth look at one of the greatest albums of all time. May 6, 2021 sees the release of a brand new book in the series that explores Duran Duran’s classic album Rio.
It appears that Amazon won’t have copies ready to ship until the end of May (as of today) but physical copies are in stock right now direct from the publisher, Bloomsbury USA.
This album is not just one of my favorite albums of the eighties, it’s one of my favorite albums ever.
The link below will take you to the author’s page about the book along with ordering information. I ordered my copy today and will post a review soon.
Music brings people together in an infinite number of ways. While this blog focuses on my musical heroes, my family heroes often show up in these posts too because music and family are often inextricably linked together in one way or another.
Yesterday our family lost my Aunt Lillie. She was my dad’s little sister, the love of my Uncle Steve’s life, amazing mom to my cousins Susan and Steven, and loving grandmother to my cousins Christopher and Elizabeth. Just last year, in June, in the midst of a global pandemic, my Aunt Lil and Uncle Steve celebrated their 50th wedding anniversary. Nothing could separate them. Even when it was time for her to go and nothing left that anyone could do about it, by the grace of God, my Uncle Steve was able to be by her side.
I have lived in South Jersey for almost my entire life, and my Aunt Lil and Uncle Steve lived in North Jersey for most of theirs. It was about a 90-minute or two-hour drive to visit, depending on traffic, but when I was growing up, the difference between North Jersey and South Jersey always seemed like the same distance between New York and Los Angeles. I visited from time to time, but not enough. Two of my fondest memories of my Aunt Lil took place during times when that distance between North Jersey and South Jersey seemed much shorter.
The first was In the summer of 1999. I was 28 years old, gainfully employed, single, had very few bills, and even had some savings in the bank. I was on the verge of purchasing my first home — the home where I still reside today with my wife and daughter— and decided that my summer vacation would consist of seeing all 15 of Bruce Springsteen’s concerts at The Meadowlands in North Jersey. The shows were scheduled to start July 15 and finish on August 12. I could afford to go, but driving back and forth to the shows — about two hours each way — was my only concern. That would be a lot of driving, and quite a bit of it in the wee hours of the early morning. I was able to get tickets at face value for all of the shows, but the tickets ate up my entire vacation budget. There was no money left for 15 nights at a hotel. And then I remembered that my Aunt Lil and Uncle Steve lived about 15 minutes from The Meadowlands arena. I called my Aunt Lil and asked if I could stay at their place on the nights of the concerts, and knowing how important Bruce’s music is to me, she instantly said yes, without hesitation. I had always been horrible about keeping in touch, and yet she and my Uncle Steve accepted me into their home that summer with open arms. Not only did I get to see the concerts, but as an added bonus, I really got to know my Aunt Lil and Uncle Steve better that summer. Now that she’s gone, I take great comfort in the fact that in addition to her living on forever in the hearts of her family and friends, every time I tell the story about my Summer of ’99 Bruce shows, my time with her and my Uncle Steve will be a beloved part of that story. People who would otherwise never have known her will hear me say her name and listen to me tell them how great she was.
The second was under different circumstances. In the fall of 2007, just a little over a year after the birth of my daughter, my employer of 11 years was sold and I was faced with potentially looking for a new job. I work in a very specialized field and didn’t want to relocate to New York or Los Angeles, where most of the jobs in my industry are based. All of our friends and family were in New Jersey and I wanted my daughter to grow up near family. Luckily, the company that bought my former employer offered me a chance to stay on in an expanded role, but the position was based in Mt. Kisco, NY, which is more than a three-hour drive from my home. Commuting daily would not be feasible, but I was offered the opportunity to work remotely provided that I go into the office once a week. Working remotely would give me the opportunity to spend less time commuting every day and give me more time to spend with my daughter, so driving 6 hours round trip once a week suddenly didn’t sound that bad to me. Still, it would not be a fun commute driving three hours up and three hours back every Tuesday. I wasn’t sure I was going to take the job. But then I had an idea. My Aunt Lil and Uncle Steve lived about an hour away from my new potential employer. If I could stay at their place on Monday nights, that would cut two hours off of my commute. If I could stay at their place on Monday nights, I could then wake up early on Tuesday mornings and only have an hour to drive to the new office. Then after work on Tuesday nights, I would drive the three-hour drive back home to my house and work remotely the rest of the week. The only problem was that I didn’t know how long this would last. It could be a few months until I found something better, but it could be longer if the job worked out well. I called my Aunt Lil to see if she would even be open to the idea, and again, without hesitation, she and my Uncle Steve welcomed me into their home with open arms. No questions asked. They saw that a family member was in a bind, and they did what they always do. They helped.
I wound up keeping that job for a little over two years. The professional experience and connections that I made in the new position led to the experience and connections that landed me where I am today, in a tremendous new role with a major player in my industry. It is quite possible that without the generosity of my Aunt Lil and Uncle Steve, I might not be where I am today. Just about every Monday night from October of 2007 through January of 2010, I would make the two-hour drive to their house shortly after dinner. My grandmother lived about five minutes from them in a senior residence, so I would often stop to visit her on the way. I’d usually arrive at my Aunt Lil and Uncle Steve’s house before 9pm, just in time to chat with them for a little while and watch some TV together before I headed to bed for what was always a long day on Tuesday. They opened their home to me as if it were my own. The weekly visits over those two years gave us the chance to catch up and spend some really nice time together, and I will always remember that fondly. Every time I tell the story about how those two years led to future opportunities for me, more and more folks will hear about how loving and generous my Aunt Lil was.
One of my happiest memories from some of those Monday night visits was when I would get to see her and my Uncle Steve come home from their church choir practice. She always seemed to have an extra glow after she had been singing in church. She loved to sing and had an amazing voice. She probably could have been an opera singer if she wanted to. I didn’t make it to church often, but on the few occasions that I had the pleasure of hearing her sing I was blown away.
I mentioned in the beginning of this post how music and family are often inextricably linked to each other. In October 2020 Bruce Springsteen released a new album, Letter to You. The closing track, “I’ll See You In My Dreams,” was about all of those we’ve lost, and how they’re never really gone because we’ll see them in our dreams. As I listened to this album over the last few months during the final days of my Aunt Lil’s fight, she was always on my mind, as were the memories I wrote about here. She will always live on in the hearts of those who loved her, and I’ll keep sharing the stories about how she changed my life for the better. Aunt Lil, I’ll see you in my dreams and will think of you every time I hear this song:
What a month it’s been for music! I’m still riding the high from listening to the jam-packed Prince Sign ‘O’ The Times box set, and now I have just finished listening to Bruce Springsteen’s new album Letter To You. I’m going to keep this brief because I don’t want to spoil anything by analyzing the lyrics or telling you my thoughts about each song. What I will tell you is this: Do you know how sometimes when a movie, television show or album is hyped up so much that when you finally get ready to experience it, you go in with lowered expectations so that won’t come away disappointed? You won’t need to do that with this album. In fact, I’m here to tell you that this album is so fantastic that I encourage you to envision your wildest dreams of what a 2020 album from Bruce and the E Street Band could sound like. I dare you to approach Letter To You with those high expectations. Now, get ready, because I’m thrilled to inform you that even going in with those top-shelf expectations, I truly believe that you will be blown away by what you hear on this album.
The songs, performances, mixes, and sound quality are all superb. Even if you saw the track list ahead of time and noticed that Bruce resurrected the old songs “Janey Needs A Shooter,” “If I Was The Priest,” and “Song For Orphans,” and thought to yourself, “I’ve already heard those songs,” no, you truly haven’t. Not like this. I don’t care what versions you heard. These are now the definitive takes of those three songs, captured on record with the full band in their greatest arrangements and firing on all cylinders.
What I love most about this album is that the recording, more than any other studio album in recent memory, genuinely captures the energy and feel of the E Street Band performing together live.
You might have seen some of the glowing reviews for this album, but no written words can accurately convey what a thrill it is. I’ll be playing this one over and over again. I highly recommend that you don’t skip tracks. Listen to it in its entirety from front to back and enjoy the ride.
The latest release in Bruce Springsteen’s Live Archive series is now available from his official site and Nugs.net. Details from BruceSpringsteen.net follow:
Originally broadcast live on radio stations across the Southeast, Atlanta 9/30/78 is the fifth and final Darkness tour transmission released in the Live Archive series. While not as familiar to fans as other ’78 broadcasts, the blistering Atlanta performance more than holds its own and is newly mixed from Plangent Processed, multi-track analog master tapes. The 23-song show presents a potent core Darkness tour setlist augmented by the yet to be released “Independence Day” and “Point Blank,” plus special additions “Santa Claus Is Coming To Town,” “Raise Your Hand” and the only performance ever of James Brown’s “Night Train.”
- Bruce Springsteen – Lead vocals, guitar, harmonica; Roy Bittan – Piano, backing vocal; Clarence Clemons – Tenor and baritone saxophones, percussion, backing vocal; Danny Federici – Organ, glockenspiel; Garry Tallent – Bass, backing vocal; Stevie Van Zandt – Guitar, backing vocal; Max Weinberg – Drums
- Recorded live with the Record Plant Remote Truck by David Hewitt and DB Brown. Original broadcast mixed by Jimmy Iovine
- Two-inch, 24-track analog master reels transferred by Jamie Howarth, Plangent Processes via Sonicraft, Freehold, NJ
- Mixed by Jon Altschiller; Additional engineering by Danielle Warman
- Mastered to DSD and PCM by Adam Ayan at Gateway Mastering, Portland, ME
- Post Production by Brad Serling and Micah Gordon
- Art Design by Michelle Holme
- Cover Photo by PJ Plutzer
- Tour Director: George Travis
- Jon Landau Management: Jon Landau, Barbara Carr, Jan Stabile, Alison Oscar
- HD files are 24 bit/192kHz; Audiophile DSD files are DSD128 (“Double DSD”)
- Read essay by Erik Flannigan
September 30, 1978
Click here to purchase the show: 2nu.gs/BruceAtlanta78
Prince Sign ‘O’ The Times Super Deluxe Edition (8 CD + 1 DVD)
If you’re waiting for your copy of Prince’s Sign ‘O’ The Times Super Deluxe Edition box set to arrive, I am happy to tell you that you are truly in for a treat. You’re going to be tempted to listen to it on the day that you receive it, but unless you have that entire day off from work, I strongly suggest that you wait until the weekend or take the day off. You’re going to need at least 10 hours to marathon your way through this massive collection of music and video.
The first two CDs consist of the remastered Sign ‘O’ The Times album. I’ll leave it up to the audiophiles to explain specifically how this remaster sounds compared to the original CD, but to my ears, this remaster by Bernie Grundman sounds significantly better than the original 1987 CD. I am pretty confident that no matter what device you listen on, you’ll prefer this new remaster.
The third disc contains single edits, B-sides, and extended versions of the songs that were released as singles from Sign ‘O’ The Times. For me, this disc is all about the B-sides and extended versions. I’m not a fan of the single edits, but if you want them, you’ll have them.
The real treasure here is found on discs 4-8. There are three entire discs (Discs 4-6) packed with previously unreleased tracks from the vault. The majority of these are from 1986 with a few exceptions. Quite a few of these tracks have circulated among fans in lesser sound quality for many years, but the sound quality in this set is far superior to any of the bootlegs that I have heard. In addition, there are still a significant number of tracks that I have never heard at all. Even some of the tracks that I had heard previously are significantly different versions than those that have circulated. In many cases, just as I thought, “Oh, I know this song,” I was stunned to hear additional music, additional instrumentation, or even different arrangements.
Disc 7 and 8 comprise a complete concert from Utrecht on the Sign ‘O’ The Times tour. The sound quality far surpasses all of the live bootlegs that I have heard from that tour, so you’ll be thrilled with the performance and the sound.
The DVD features the complete December 31, 1987 New Year’s Eve show shot live at Paisley Park and includes a guest appearance by Miles Davis. The audio and video quality is fantastic for a video from 1987 and the quality is consistent throughout. For much of the show, the camera mix is focused on Prince, which I love because I get to see close up what he’s playing on guitar. This show in my personal opinion is even more enjoyable than the theatrically released Sign ‘O’ The Times movie (which by the way, is not included in this set due to legal reasons).
I strongly recommend that you listen to all 8 CDs and watch the DVD on the same day, as I did on Saturday. Binge it like you would a great Netflix series. I feel that binging it in one sitting will give you a deep understanding of just how hard Prince worked in the studio. After listening to and watching all of the material in this set, I felt exhausted in an exhilarating way, and fully satisfied. I think you will too.
On a rainy night in early 2020, right before the Covid-19 pandemic reached the United States, I was improvising on my guitar and came up with a chord progression that I really liked. It felt soulful, a little dark, introspective, and just a bit hopeful. I decided right then and there that I was onto something, and that I needed to finish this song. I then stepped into the shoes of a fictional character that I had in mind and I wrote down some lyrics about what this character was feeling looking out their window watching the rain. In less than a half hour, I had most of the lyrics completed. I then recorded a couple of takes in GarageBand and before the night was through I had a completed demo. I was happy with the instrumental parts, but the lyrics weren’t completely finished and I had only recorded a scratch vocal. I’m happy with my own vocals when used in the background behind a good lead vocalist, but I’m rarely happy with my own lead vocals on their own, and so I thought the song might never see the light of day. Besides, as it stood, the lyrics captured the feeling of isolation and sadness that I was going for, but I wanted the song to build as it progressed, eventually bringing forth a feeling of hopefulness and optimism about the future. I wasn’t happy with my vocal track. The lyrics weren’t finished. The sense of hope was missing. The song might just stay tucked away on my hard drive forever.
Fast forward to July. With the country battling the pandemic, my family and I had been avoiding public places as often as possible and spending a lot more time at home, which gave me more time to be creative in my home studio. Scrolling through Facebook, I noticed that my cousin had shared a post about the debut album that his friend, Megan Kleven, had just released titled “I Am”. (For more information about “I Am” please visit www.meganklevenmusic.com). I previewed her songs, liked what I heard, and bought her CD. I was really impressed with Megan’s voice. On her album she effortlessly glided between soft, lower registers and powerful, soulful higher notes. Her songwriting also impressed me. The idea hit me immediately: This was the voice that could turn my demo into a finished song that I could be proud of. I reached out to Megan via Facebook Messenger to see if she had any interest in collaborating, and luckily she was ready for a new project and was up to the challenge. I sent her my GarageBand file of the song and she soon sent the file back to me with her lead vocal track added in place of my scratch vocal. I was absolutely blown away. When I sent the song to her, my vocals were just the skeleton of a melody. What she sent back to me was a breathtaking vocal performance filled with melody, nuances, and most importantly, the sense of hope that had eluded me when writing the song. She re-wrote some of the lyrics and added some new ones, and that, combined with her amazing vocal performance, elevated the song to a level that I had not dreamed possible when I started it.
Now that you know the story behind the song, I would be honored if you would take the time to listen to our debut song “Rain”. If we accomplish our goal and the song moves you, we would greatly appreciate it if you could take a minute to share the song with your friends on social media. The link below will take you to a page where you can listen to “Rain” on your favorite streaming service. Thanks for listening!
BrownMark, bass player from The Revolution, will discuss his upcoming book My Life in the Purple Kingdom September 28, 2020 at 6:00 pm Central time at a virtual online launch event. Journalist Touré will moderate a Q&A with BrownMark. You can register for this free online event here: z.umn.edu/pkregister
You can read my review of the book here: https://chuckearling.wordpress.com/2020/05/30/book-review-my-life-in-the-purple-kingdom-by-brownmark-with-cynthia-m-uhrich/
The Prince estate has released another track from the upcoming Sign ‘O’ The Times Super Deluxe Edition box set. The estate refers to this version as an “Early Vocal Studio Run-Through” but that description is wildly inaccurate. You would think that with a title like that, it would simply be a rough take of Prince’s vocal guide over a background of the beat that we’re familiar with from the original version from the Sign ‘O’ The Times album, but this version is in reality exponentially more than that. This version not only features a fully developed vocal, but a funky acoustic guitar, bass, and beautiful background vocals by Prince. You’ll of course decide for yourself which version you like better, but in my opinion this newly released version blows away the original album version. I find it more soulful, funky and uplifting than the version we’ve all heard before. You can hear the newly released version below.
If you’re a Billy Joel fan like me, you’re already familiar with the drum grooves of Liberty DeVitto. Liberty played drums with Billy on 13 platinum albums and recorded and toured the world with Billy for more than 30 years. He wrote and recorded the drum parts for 22 Top 40 hits and six Grammy-winning recordings.
Billy Joel’s music has been a part of my life for as long as I can remember. I knew the name Liberty DeVitto because I had seen him credited as the drummer in the liner notes for all of my favorite Billy Joel albums, but it wasn’t until my first Billy Joel concert, October 8, 1986 at The Philadelphia Spectrum, that Liberty officially became one of my all-time favorite drummers. I was blown away by the energy of Billy’s band that night, but especially by Liberty’s drumming. In the same way that Max Weinberg, another of my favorite drummers, powers the engine of Bruce Springsteen’s E Street Band, Liberty powered Billy’s band. I would go on to see Billy in concert more than 15 times after that magical concert in Philly. At every show, I watched Liberty’s drumming as much as I watched Billy playing piano. Liberty brought exactly the right energy to the right songs at the right moments, and for me, was an integral part of Billy’s music. But I never really knew much about Liberty as a person until now.
Too often when I pick up a an autobiography by one of my musical heroes, I always tell myself that I’m going to quickly speed read through the beginning, the part that is almost always a family history, and get right to the part where the author starts talking shop about the music. Fortunately I stopped doing that because I realized that where that person came from, along with their journey, adds an emotional impact that you really need to fully appreciate how the events in their lives led them to create the music that we love. I’m so glad that I didn’t skip any sections in Liberty’s book, because the heart and soul of this book is about family and friendship. It’s equally about Liberty’s love of music and drumming, and the many sacrifices that he made in his life to achieve his dream of drumming for a living. Much like the masterful lyrics in Billy’s songs, Liberty’s story is a “series of hellos and goodbyes” and often “either sadness or euphoria.” This is a tremendously emotional book. It’s a seesaw of highs and lows. One minute you’re sharing the thrill of Liberty’s accomplishments; the next minute you are emotionally gutted by a tragic loss, and then back to hope and happiness.
The story of how Liberty became “Billy Joel’s drummer” is intertwined with the story of family, friends, heartbreak, loss, substance abuse, success, fame, and of course plenty of fascinating and fun anecdotes about all of the songs that he recorded with Billy. It’s also a story about rebirth and redemption. I highly recommend this book. You can order it direct from the publisher or from Amazon in the links below.
Ever since Prince’s passing, there have been numerous books written about him by some of those who worked closely with him. There have been books written by musicians, photographers, record executives, and others. Often when someone of Prince’s stature passes away, the knee-jerk reaction by many is to think that posthumous books are simply written to cash in, but in my opinion, whether or not that is true, most of the new books about Prince have given us fascinating new insights into his creative process, his work ethic, his philanthropic endeavors, and a closer look at the human being behind the music.
As each new book is released, I enjoy hearing from every one of the people he worked with, as each of their stories are like puzzle pieces, and the more stories you read, the closer you get to seeing the completed picture of the Prince puzzle. I don’t think that we’ll ever have a truly complete picture of the Prince puzzle, but I don’t think we need to. Prince often said that everything you need to know about him was right there in his music. I agree, but it’s still fun to hear the fascinating accounts of those who worked with him and knew him best, or at least came as close as anyone realistically could to truly “knowing” Prince.
The books that I look forward to the most are those written by the musicians who worked side-by-side with Prince in the studio and on stage. Although I love every era of Prince’s music, I am especially obsessed with the era of 1984-1986, which included the release of his albums Purple Rain, Around The World in a Day, and Parade, all recorded with my favorite lineup of his band, The Revolution. BrownMark was The Revolution’s bass player from 1981-1986, so I was thrilled to hear the news that he is releasing a book in September titled My Life in the Purple Kingdom about his time spent working with Prince.
I obtained and advance copy of the book and devoured it in just two nights. Right after a heartfelt forward by Questlove of The Roots, BrownMark kicks off the book with the moment that he was about to walk on stage with Prince and The Revolution and open for The Rolling Stones. Never mind the fact that Prince and the band would be famously booed off the stage by the die-hard Rolling Stones fans, as the focus in this brief introduction is on the fact that BrownMark, at just 19 years old, had already fulfilled his dream to be a rock star, and was about to play for more than 90,000 people.
In the next sections of the book, BrownMark discusses his childhood and how he grew up listening to music on a transistor radio. We learn about the musical awakening that he felt when he watched Three Dog Night and The Jackson 5 perform on television. He shares a heartwarming tale about delivering newspapers and saving enough money to buy his first guitar from a Sears catalog. He waited for the mail carrier every day until the guitar finally arrived, but when cutting into the shipping box BrownMark accidentally cut two of the strings, so he wound up playing just four strings. He probably didn’t know it at the time, but his destiny would be playing with four strings anyway, as he discovered the bass guitar as a sophomore in high school and fell in love with it. He played in a few bands, first Private Stock, then Phantasy. He shares stories about struggles with his grades in school, falling in with some bad crowds, and encountering violence and racism, but through it all, he kept his eyes on what he truly wanted to do, which of course was to make a living playing music.
While working as a cook at a local restaurant, BrownMark cooked pancakes for Prince, who had come in for a meal with a friend. He knew that Prince was well-known in the local music scene, as Prince had recently released his first album. What BrownMark had know idea of at the time was that he had just served pancakes to his future boss and collaborator. Later, while BrownMark was playing in a band and working at a 7-11, he received a call that would change his life forever. Prince called and asked him to audition for his band. Throughout the rest of the book, which is divided into short, chronological chapters, we share BrownMark’s whirlwind journey as he joins Prince’s band in 1981 and continues as a member of The Revolution until 1986 when Prince and The Revolution would eventually part ways. During the journey, we share all of the highs and lows that BrownMark experiences along the way. He shares open, candid stories about his working relationship with Prince, and the stories are not always flattering, but that should not come as a surprise to anyone who followed Prince’s career closely. However, it is clear that even after the conflict, BrownMark still feels thankful and blessed to have worked with such a musical genius, and he carries a great deal of respect for Prince to this day. Working with Prince helped BrownMark become the musician and producer that he is today, and his love for Prince is still clear. This is not a tell-all book. It is simply a candid, honest, heartfelt story about a young kid who goes on to achieve his dream of making it in the music industry, and the price that he pays along the way. It’s an uplifting tale about working with Prince, and it is an enjoyable read that serves as another piece of the puzzle that is Prince. I highly recommend the book. It is available for preorder via the links below:
Eighteen years ago during Prince’s 2001 Celebration in Chanhassen, MN, I sat on the floor of a very comfortably carpeted upstairs room in Paisley Park along with a group of 15-20 other fans and we were treated to our first listen to what was at the time his brand new, yet-to-be-released album, The Rainbow Children. A Prince fan since 1982, I could barely believe that I was in Prince’s legendary workplace/home listening to his latest album, which the general public had not even heard yet. Staffers handed each of us a photocopied lyric booklet and proceeded to play the album for us in its entirety, followed by a discussion session with the fans giving opinions about what we had experienced. Prince himself joined the discussions in some of these listening sessions held that week in June 2001, but alas, he did not attend my group’s session. However, at this celebration — and the previous inaugural celebration held in June 2000 — we all knew that at any given moment, we might see Prince walking down the hall, turning a corner, or even popping up behind us without warning. During both of those visits to Paisley Park, the excitement of knowing that Prince was in the building added a thrilling layer of electricity in the air along with the hopes of a chance encounter with the man himself. While fans had plenty to say about the lyrics from The Rainbow Children album, with Prince having recently converted to become a Jehovah’s Witness, the album’s lyrics provided plenty of fuel for lively discussion. But two things were clear to me while listening to this new music: It was in my opinion the most interesting, creative music that Prince had created in quite a while, and it was clear that he was overjoyed with the record and couldn’t wait for us to hear it. The album’s closing track, “The Last December,” absolutely blew me away. It remains to this day one of my favorite Prince songs. I’ll never forget the feelings of joy, inspiration, and reflection that I felt listening to that song inside the walls of Paisley Park. When I hear it today, since his passing, the song carries even more emotional weight than when I first heard it that day. But every time I start to choke up listening to the lyrics, the tears don’t come because I think about the beautiful fact that Prince did indeed stand tall and gave his all, and his music brought people from around the world to come together as one. His music still continues to bring people together today.
As much of a thrill as that June 2001 listening session was for me, not even that could top what happened at the previous year’s inaugural celebration. On the evening of June 7, 2000, which happened to be Prince’s birthday, I actually met Prince in the room that today is called the NPG Music Club room. I believe it might have been called the Love For One Another room back then, but I can’t say for sure. There was a dance party going on in this smaller room next to the larger soundstage room, and I was extremely tired after a long day on my feet. I’m not much of a dancer, so I was hanging out in the back of the room like a wallflower just taking in the vibe and watching everyone having the time of their lives. All of a sudden I noticed Prince standing about 10 feet away from me on my right. I thought for sure that if I tried to approach him, one of his bodyguards would steer me away quickly, but I figured, what the hell, when in my life will I ever have this chance again? I very casually walked over to him and to my surprise made it all the way to Prince unobstructed. I caught his attention, said “Thanks for having us,” and slowly extended my hand. He reached out, shook my hand (which I had heard he didn’t often like to do) and replied, “Thank you for coming.” He sounded genuinely grateful, humble, and kind. The old expression “never meet your heroes” is repeated often, but I’m glad I took my shot that night because I’ll remember that moment forever. I could have tried to tell him what his music meant to me, the story of my first-ever concert being the Purple Rain tour in Philly on November 24, 1984, and other things I would have loved to discuss with him, but I wasn’t about to get greedy. I was grateful for that moment, and so I turned and went back to my spot against the wall. Still riding that high, I turned around and he was gone. Poof! As if Batman himself had just dropped a smoke bomb and flew off into the night, Prince had disappeared. It remains today one of the most surreal moments of my life.
I have shared the two stories above to set the tone for my recent return to Paisley Park. Eighteen years have passed since my last visit. In September 2016 I traveled to Minneapolis for The Revolution’s three-night stand at First Avenue, but I didn’t go back to Paisley Park during that trip. The wounds from Prince’s passing were still profound, and I wanted to keep my memories of Paisley Park just the way they were during those amazing 2000 and 2001 visits. But this summer, I felt the need to go back. I had heard from fellow fans that the new “Ultimate Experience” three-hour tour was essential for any Prince fan, and that the majority of the kinks that were present in the tours when the building first reopened had since been ironed out. All summer I kept an eye on airfare and in July I finally found a great deal. I departed Philadelphia the evening of September 6, 2019 and arrived at the Minneapolis/St. Paul airport a few hours later. I picked up my rental car and soon checked into the Chanhassen Country Inn & Suites (the same place I had stayed during my previous trips to Paisley Park) around midnight. Just minutes from Paisley Park, this still seems to be “the” place to stay when visiting. Somehow, I wasn’t tired, so I took a quick drive to Paisley Park to see it illuminated in purple and grabbed a few selfies.
On September 7 I woke up before my alarm was even set to go off. I felt like a kid on Christmas morning. Full of adrenaline, I quickly showered and went downstairs for breakfast. On my way back upstairs to grab a few things from my room and check out, looking out the hotel window I noticed a Prince mural on the wall of a building across the parking lot. I checked out around 8:15 a.m. and stopped at the mural for a few photos on my way to Paisley Park.
I then drove to Paisley Park to check in for my tour. I arrived promptly at 8:40 a.m., as the ticket states that you should arrive no earlier than 20 minutes before your scheduled tour time. I drove through the open security gate to the small building that served as the check-in station. After showing my ticket, the guard advised me to proceed to the main parking lot and head into the main entrance to wait for my tour to begin. I parked, took a few photos of the building, and headed into the main entrance.
Knowing that when I walked through those doors, Prince would no longer be there and would no longer surprise any of us by popping up unexpectedly during the tour, I was afraid that some of the thrill would be gone, but I had already had plenty of time to deal with those feelings before my arrival. I had made up my mind that this return was going to be another celebration and a time for reflection, healing, and new insights, not a time to mourn. I also wanted to see for myself that everything was being preserved with dignity and respect, and that Paisley Park was in good hands so that new generations of fans could learn about what Prince did at Paisley Park and why creative freedom is so important.
The first thing I noticed after entering was that the couches and the display case that had been in the lobby had been removed. A security guard told me that this was because they needed to free up some space for people to check in for their tour. Upon picking up my lanyard and flash drive at the front desk, and also having to secure my cell phone in a special case that could not be opened until the end of the tour, I was escorted to the line in the hallway where framed record awards hung on the wall to the right. Hanging on the wall to the left was a letter from President Obama and First Lady Michelle Obama expressing their sympathy to the family and fans of Prince. It was of course appropriately signed in purple ink. Also on the wall to the right with the record awards hung a gigantic frame that featured concert tickets from Prince’s 2004 Musicology Tour. One ticket from every show of the tour was included in a giant circle inside the frame.
Shortly after 9 a.m., our tour guide, Tomi, introduced himself and gave us a brief history of Paisley Park and invited each member our group of about 15 people to tell us where they were visiting from. Fans from Philadelphia, Dallas, Boston, Washington, D.C., The United Kingdom, The Netherlands, and Scotland, among others, introduced themselves. Tomi then briefly shared his story. He has a day job during the week, but works at Paisley Park as a tour guide on the weekends. He had attended numerous Paisley Park events as a fan, including the Rave New Year’s Eve concert, and wanted to give back in some way and ensure that Prince’s legacy was being preserved and shared with new generations of fans. His enthusiasm was genuine and I could tell that we were going to have a great tour.
Tomi lifted the velvet rope and escorted us into the atrium. The first thing I noticed about the atrium is the abundance of light. Even on the somewhat overcast day, light reached every corner of the room. Tomi explained that this was by design, and that Prince wanted Paisley Park to give the feeling that there was no ceiling and therefore symbolically no limits to the creative freedom that artists would have at Paisley Park. Still in the atrium area, we next saw the kitchen. The doors were closed, but we were permitted to look through the glass-door windows to see the diner-style booth seating as well as a couch placed just feet away from a television. Across from the kitchen were two displays that seemed like closets, now enclosed by glass. The first contained Prince’s own Sony Walkman cassette player/recorder, a few cassettes with his handwriting on them, and a spiral-bound notebook with the front page showing Prince’s handwritten lyrics to “Soft and Wet.” The second window featured Prince’s legendary Hohner Mad Cat guitar.
We then moved on to Prince’s office, a room that I had not seen on my prior visits. His desk is still there, equipped with blank CDs and a purple phone. Records, CDs and books were visible throughout the room, as well as some family photos and a television. There is also a private bathroom behind his desk.
The Sign ‘O’ The Times room featured Sheila’s drums from the Sign ‘O’ The Times concert film, some of Prince’s outfits, and his acoustic guitar (the one with the heart on it). A television on the wall played scenes from Sign ‘O’ The Times on a loop.
The nearby Lovesexy room included Prince’s outfits from the Lovesexy tour along with a television playing clips from the Livesexy 88 broadcast on a loop.
Farther down the hallway near the restrooms, a display case featured three of Prince’s guitars including his 3rdeyegirl guitar along with the very last guitar that was made for him. He received it shortly before he passed, showing it off to fans at Paisley Park during one of his last concerts there, but did not play it. He opted to play piano instead.
The next room, located close to Prince’s office, was the Video Editing Suite. It looks very much like a high-end home theater. Director’s chairs for fans to sit in are placed behind a purple couch (which — for preservation reasons — fans cannot sit on) in front of a computer and video monitor that looks like a large television. A Metropolis movie poster hung on the wall to the left, and a Bird (Charlie Parker) movie poster hung on the wall to the right. Tomi played some fantastic footage for us. We watched some Musicology tour footage showing Prince absolutely killing it on the bass, then playing “Cream” acoustically, followed by footage showing band members underneath the stage. The highlight was a full-length clip of “Something in the Water” recorded live in Manchester with 3rdeyegirl. Prince sings throughout leading the audience in an exhilarating call and response, and then finally picks up his guitar and plays a wicked guitar solo. The sound quality is superb and the editing suite’s acoustics and sound system are top notch. All of this left me longing for all of the official releases of the massive archive of material from Prince’s vault yet to come.
We were then lead into The Galaxy Room, which is the break room for Studio B. When the black lights are turned on, a galaxy of stars appears on the walls. Prince’s symbol is hidden among the stars in multiple locations. A television played a clip from Oprah’s interview with Prince recorded at Paisley Park. In the footage, Prince joyously spoke about the fact the he was now free from his Warner Brothers contract, and therefore recording every instrument as a free man. It’s classic footage that most of us have seen, but as part of the interview was filmed in The Galaxy Room, it’s the perfect clip to play there.
The Galaxy room leads to Studio B’s control room, where we went next, and spent a significant amount of time there. Tomi gave some satisfyingly in-depth information about the 48-track mixing board and some insight into mixing and editing. He also discussed Prince’s fondness for analog recording and pointed out the two analog tape machines in the back of the room. He also gave a brief visual demonstration showing how when working with analog tape, you sometimes had to literally cut and paste the tape as opposed to the virtual cut-and-paste function available with today’s digital equipment. The highlight here was listening to a very stripped-down recording of “Rock & Roll Love Affair” that featured only Prince’s vocals and guitar, followed by the completed full track. We also heard a vocal-only version of “The Breakdown” followed by the final completed version. The sound of Studio B’s monitors is stellar with excellent bass response. Tomi told a funny story about the day that Prince upgraded the bass cabinets. The legend says that Prince played so loud that the new cabinets were literally loosening of the tiles from the walls in the men’s room. He explained that it was important to Prince to not just hear the music, but to literally feel the music while he was creating it. These monitors definitely achieved that.
From the Studio B control room, we then moved on to Studio B itself. This studio contained a purple piano, a blue cloud guitar, Prince’s ping pong table (which you actually get to play ping pong on) and a vocal microphone. Under the window that looks into the Studio B control room, you can see 48 inputs on the wall so that 48 instruments or mics can be plugged in to send to the control room’s 48-track mixing board. Large photos of Prince and 3rdeyegirl are prominent in this studio, and Tomi informed us that these photos were present at the time of Prince’s passing, so they were left intact. This is the location where guests get to have their picture taken by the tour guide. After Tomi took our pictures, he gave us the files on a Paisley Park flash drive.
Next we moved on to Studio A, which includes a granite/stone isolation room with a piano. The granite/stone room is specially designed for digital recording. The isolation room to its right is a wood room that includes drums and a microphone stand that includes unreleased lyrics to a song that was most likely being worked on for a jazz album that Prince was recording. The third isolation room was smaller than the other two, and is located to the left of the control room window. This smaller isolation room included a purple Rickenbacker guitar, pedal boards, and a lot of guitar cables hanging on the wall. Through the control room window, you could see the original Linn LM-1 drum machine. The Oberheim keyboard that was used to record “When Doves Cry” is also visible through the window. Footage of Prince recording a song from the Batman soundtrack is available online showing Prince recording in Control Room A, so we know that he worked on that album here. This room also now features a display case that includes Prince’s driver’s license along with various Paisley Park postcards and letterhead from various years. Tomi then played a song for us from the sessions that Prince was working on with Mono Neon called “Ruff Enuff” with Adrian Crutchfield on vocals. It was a thrill to hear this funky song in the actual room where it was recorded.
After Studio A, we visited a room that I had not seen during my 2000 and 2001 tours: Prince’s writing/inspriration/reflection room. It was a very small, dark room with one of the only decorations being a small illuminated object that I can best describe as a pom-pom or jellyfish-like object that had air flowing through it to create a soothing glow. Besides a chair, that’s about all there was to see here, but the thought that Prince came to this very room to escape the insanity of the world brought a great sense of inner peace. It was also a thrill to think about the fact that some of the songs that we know and love might have had their beginnings in this room. The only window in this room looks into what was Studio C, but is now the Purple Rain room.
The Purple Rain room (previously Studio C) features a great collection of items from the film including the coat and shirt he wore while singing “Purple Rain,” one of his motorcycles, a hardbound script of the film, one of his white cloud guitars, and a small purple piano from the Purple Rain tour. The piano has scuff marks on its top from Prince standing on it and jumping off of it. A multi-platinum award for the Purple Rain album was also on display. This room was especially fun for me because as is the case with many fans my age, the Purple Rain era is when I went from simply being fan to being a die-hard fan. His music has played a huge role in my life ever since.
We then moved on to a room that previously housed production offices, but is now divided into two sections: The Under The Cherry Moon room and The Graffiti Bridge room. The Under The Cherry Moon room featured paisley amplifier cabinets from the Under The Cherry Moon / Parade era, along with one of his outfits from the film, a movie poster, and a television playing clips from movie. In addition, the walls feature murals showing images of The Revolution that originally appeared in the inner sleeve of the Parade album. The hardbound script for Under The Cherry Moon was in a display case on the other side of the room. The Graffiti Bridge room included Prince’s motorcycle from the movie along with a black leather jacket and a bass guitar. A television hung on the other side of the room and played clips from Graffiti Bridge.
This next section might not be in the correct chronological order for the tour, but we also walked through the History Hallway, which included photos from numerous eras of Prince’s career, many of which were taken by Jeff Katz, and an Influencers Hallway that featured the Influence Wall mural by Sam Jennings, featuring his collage of some of the artists who influenced Prince.
The next stop was what used to be called The Arcade Room, as Prince used to play games there. This room featured Prince’s breathtaking Schimmel Pegasus piano. This glossy black piano includes the Prince symbol on top and the cover is motorized to open and close. It can be seen in the Rave New Year’s Eve concert from 1999. At the entrance to the room, a television shows some of the footage of Prince at the piano during the Rave concert, as well as some interview clips with Prince. Inside the room, in addition to the piano, to the left you can see an outside porch area with tables and chairs, and on that particular day, Tomi pointed out that you could see the Purple Rain tour bus parked outside in the distance. That was a thrill for me, having first seen that bus outside of the Philadelphia Spectrum at my first concert in November 1984. A couch and a very uniquely structured, low-lying chair made of wood sat on the floor to the right. I have seen photos of Prince sitting in that chair. We then proceeded through a door and into the main soundstage room where scenes from Graffiti Bridge as well as many of Prince’s music videos were filmed. This room now displays many Prince’s guitars and outfits. Just a few that stood out to me were the guitar that he played during his American Bandstand appearance, his Controversy jacket, his original hand-drawn image for the 1999 album cover, the outfit that he wore in the “Raspberry Beret” video, his Gold Experience bass, and the purple piano that he played at his final Paisley Park concert. Footage from that concert played on the big screen in the room, specifically, the song “Free Urself.” The sound quality was fantastic and made me yearn for an official release of that final Paisley Park concert. The most thrilling experience I had in this room was actually getting to hold an actual cloud guitar that Prince had played. It was colored peach, but we were told that it had originally been a light blue. You must wear white gloves in order to hold the guitar to prevent damage to it, and a staffer stays right there with you to make sure you don’t drop it, but it was an absolutely amazing moment to hold a guitar all the while thinking about the fact that Prince had actually played it. I should note that this opportunity is currently only available as part of the $160 “Ultimate Experience” tour, but this moment — combined with the fact that the tour is the longest and most in-depth tour available — make the price well beyond worth it.
Next to the soundstage room, we then entered the NPG Music Club room. Although the entire tour was emotional for me and simply being in this fantastic building again was a deeply emotional experience, it was in this room that I felt my composure slipping away and I shed a few tears. I’ll preface this with the fact that I am a visual thinker, and sometimes can’t remember what I had for breakfast, but I can enter a restaurant with my wife 10 years after being there last and instantly remember the specific table that we sat at the last time we were there. The same thing happened to me as soon as I entered the NPG Music Club room. The room had been rearranged quite a bit since I was last there in 2001, but I instantly recognized the black staircases that rose to the ceiling, the bay door that was used to bring equipment into and out of the room, and the two doors near the back of the room. My eyes were instantly drawn to the back door on the right, next to a staircase. It was just inside that door in that very spot on June 7, 2000 that I met Prince, briefly spoke with him and shook his hand. It was the exact spot where I had met my musical hero. This was the room where the dance party had been on that amazing evening in June 2000 and I recognized it instantly. Right in that same spot stood a Paisley Park staffer behind a cart, and she was giving out chocolate chip cookies made with Prince’s favorite recipe. I stood there just staring at that spot in awe, remembering that magical night.
On a large video screen we watched a clip of Prince and 3rdeyegirl in a concert that was filmed in this very room, but I don’t even remember what song it was. My mind was still fixated on the moment that I had met Prince in this room, and the fact that he was no longer with us. He wouldn’t be dropping in on the tour or playing a practical joke by calling the tour guide on the phone from the room right next door while fans watched the speaker phone, not realizing Prince had been just a few feet away, a story that Tomi told us during the tour. Our group sat on the couches in the NPG Music Club for a little while listening to stories about shows that had taken place in this room through the years. At the end of the tour, we were then invited to hang out at the tables in the back of the room and enjoy the previously mentioned chocolate chip cookies. When I picked up my cookies in the exact spot that I had met my hero 19 years earlier, my eyes were definitely a little wet. The woman giving out cookies was either used to seeing a few tears from fans at the conclusion of the tour, or she must have thought that I really, really loved chocolate chip cookies.
After eating my cookies and drinking a much-needed bottle of water, our tour had concluded and we were steered toward the gift shop. I would usually laugh at the fact that tours always ended in gift shops, but I actually planned to buy a few things here, and so exiting into the gift shop seemed like a natural progression. In the gift shop, Prince’s Super Bowl performance played on a loop. A wall also displayed a selection of the items that fans had left on the Paisley Park fence after his passing. We were told that all of those items were saved, and that the estate is trying to figure out what to do with them. In the meantime, it was inspiring to see some of the amazing tributes that were left by fans in Prince’s honor.
I bought a few things and made my way out of Paisley Park. Outside, I grabbed a few more selfies outside the studio entrance, and then found a few fellow fans who took some fantastic photos of me outside of the main entrance to remember the occasion. I did the same for them and then we posed together for a group photo that yet another fan was kind enough to take for us. As I got into my rental car and exited the gates, it occurred to me that even though Prince is no longer with us physically, he’s still with us, and his music and Paisley Park continue to serve as inspiration for us to “come together as one,” just like in his song, “Last December,” which I had first heard so many years ago for the first time within the walls of Paisley Park. The lyrics to the song “Paisley Park” claim that Paisley Park is in your heart, and I agree, but it’s also in Chanhassen, and I can’t wait to go back again.
Every year near the end of summer I start to dread the imminent arrival of fall and cooler weather. The weather forecast is unacceptable to me unless it’s warm enough to leave for work in the morning without a coat and still warm enough to come home at the end of the day without a coat. The minute the temperature starts to require me to add layers to my clothing, I’m pissed and depressed. Not enough to make me want to move to Florida, but enough to make me wish it could be summer all year long. As the summer of 2019 nears its end, I decided to send it out with a bang.
My 13-year-old daughter recently expressed interest in going to her first concert. She’s currently listening to Shawn Mendes nonstop, so on August 28 I took her to Shawn’s concert at the Wells Fargo Center in Philadelphia for a late birthday present. I’m not a fan of much of today’s pop music, but I’m happy to say that Shawn’s show was full of energy and he really knows how to work the crowd. In a pop music climate filled with electronic loops and Auto-Tune vocals, I was thrilled to see that Shawn doesn’t just use the guitar as a prop, he actually plays it. Vocal effects were used sparingly, as a supplement rather than a necessity. He can sing his ass off, so he doesn’t need the gimmicks. It was also a thrill to watch thousands of young fans singing along to his songs with the same fervor as if they were on stage with him. After fearing for the future of good, catchy pop songs, I am quite relieved to see that at least one member of the next generation of musicians is making sure that catchy hooks won’t go away any time soon. The expression on my daughter’s face during the show was well beyond worth the price of the tickets. I’m pretty sure she’ll remember that night forever.
Now back to the subject of the end of summer depressing me. I decided that I really needed a one-two punch to end the summer on a high note. After taking my daughter to her first concert to see her current musical hero, I decided I would take her to see a concert with two of my all-time greatest musical heroes, Daryl Hall & John Oates. She’s seen the new kid in town, so I thought I would expose her to the greatest musical duo of all time (in my opinion at least). She knows many of their hits by heart simply via osmosis because I listen to them so much. So off we went to Hall & Oates’ August 30 show in Atlantic City at The Hard Rock’s Etess Arena. I’ve seen Hall & Oates many times since I first saw them in the eighties. I’m elated to report that instead of just phoning it in as many veteran acts seem to do, Daryl & John are at the top of their musical game. Sure, it’s still a greatest hits show for the most part (with the exception of the rarely played “Is It A Star,”) because let’s face it, when you have as many hits as these guys do, that’s what most of the crowd wants to hear. It’s been a few years since I’ve been to a Hall & Oates show, but I’m elated to report that their performance is still superb. The hits often featured fresh arrangements while still staying true to the core essence of each song. The fresh arrangements don’t distract the listener, they simply breathe new life into the classic songs. I wanted to show my daughter what the masters of pop music can do, and Daryl & John did not disappoint.
And so our boys of summer cheered us up in only the way that music can. Shawn Mendes showed me why my daughter loves his music, and Hall & Oates showed my daughter why they mean so much to me, and that — in her words said with genuine enthusiasm– “those old guys can really still rock.” I’m pretty sure that’s high praise from a 13-year-old.
It was a magical night in Asbury Park, NJ. After scoring tickets with the help of Backstreets.com and 1iota.com, my aunt and I made the trip to Asbury Park for the Blinded By The Light red carpet premiere and party. Thunderstorms were in the forecast, but the rock & roll gods kept the rain away until after the fans waiting outside made their way into Convention Hall.
It was a thrill experiencing the movie in a theatre packed with Springsteen fans who cheered at all the right moments. Watching the film in the same room as Bruce and those who made the film was a once-in-a-lifetime joy that I’ll never forget. The movie isn’t just about a young man who discovers Bruce’s music, it’s about finding a sense of belonging in the world and pushing forward to live your own best life while still trying to hold onto your family and those you love despite all of the obstacles in your way. Most timely of all, it’s about rising above hatred, and how music can bring people together and change the world.
In addition to the film’s director, the author whose book the film is based on, and many of the actors, Bruce himself walked the red carpet with his wife, Patti, and later played four songs with Southside Johnny and the Asbury Jukes at the after party at Convention Hall. Just like Southside’s song says, at the end of the night I found myself saying “I Don’t Want To Go Home.”
Bruce Springsteen’s official series of live concert downloads continues with today’s release of the first of two shows that were performed at The Roxy October 18, 1975 during a four-night stand at the venue. This release documents the entire performance of the first show from night three. Jon Altschiller mixed the show from a restored transfer of the 16-track, 2-inch master reels. The sound quality is fantastic and captures the thrill of experiencing Bruce and The E Street Band in a small, intimate venue.
You can purchase the download of the show here: http://live.brucespringsteen.net/live-music/0,20734/Bruce-Springsteen—The-E-Street-Band-mp3-flac-download-10-18-1975-The-Roxy-West-Hollywood-CA.html