“The Big Man” Clarence Clemons dies of complications from a stroke at 69
Clarence lived a wonderful life. He carried within him a love of people that made them love him. He created a wondrous and extended family. He loved the saxophone, loved our fans and gave everything he had every night he stepped on stage. His loss is immeasurable and we are honored and thankful to have known him and had the opportunity to stand beside him for nearly forty years. He was my great friend, my partner and with Clarence at my side, my band and I were able to tell a story far deeper than those simply contained in our music. His life, his memory, and his love will live on in that story and in our band.
(For the incomparable obituary from the folks at Backstreets.com CLICK HERE )
I’m sure I share the same feelings of loss as millions of other fans the globe over. It’s impossible to explain the importance of Bruce Springsteen and the E Street band in my growth as a human being, and Clarence Clemons’ horn was an essential ingredient in so many of their most powerful and soulful tracks.
No doubt Bruce Springsteen has some of the best rock and roll vocals the genre has ever seen, and little would argue that the musical denizens of E Street have always been some of the tightest loose rock players to ever grace a stage or studio. But, as evidenced from the heavy rotation of Motown classics in his early setlists, Bruce always wanted an element of that Detroit soul in his songs – and that burden was placed squarely on the immense shoulders of the Big Man, Clarence Clemons.
But in addition to the soulful vibrations on such epic explorations of the human condition as “Jungleland,” Clarence and his horn playing were also able to bring an elevated grittiness to the band’s joyful and raucous numbers such as “Sherry Darling” and Gary US Bonds’ “Quarter to Three,” a concert staple for a number of years – including 1979 when Bruce and the boys went atomic with it at the No Nukes concert.
(Bruce is amazing I know – and I would never ask you to take your eyes off of him – but just listen to Clarence blow the hell out of that horn! That my friends is the sound of adrenaline!)
Yeah, I cried. Yeah, I danced around. Yeah, I danced around crying.
Everybody knows Clarence is a great rock and roll horn player, but a lot of folks don’t appreciate his softer side. So, I thought I might wrap up this tribute post with a couple clips highlighting the less riffy and more subtle side of Clarence, starting with his haunting intro to “The River” from the Fleet Center in Boston, MA on August 26, 1999. It’s an audience recording, but don’t let that distract you from Clarence as he sets the mood for one of the most powerful songs about broken dreams ever written. I love how he gently hands things over to Bruce and his harmonica as if to say, “OK Boss, I think they’re ready.
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Martin Popoff of Goldmine magazine recently conducted an interview with Wendy Dio, the wife/manager of legendary heavy metal singer Ronnie James Dio. A few excerpts from the chat follow below. Wendy: "Ronnie had a very different way of writing.
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Kelley Ryan and Maxi Dunn – CD Reviews | Goldmine Magazine
, The first disc released under her own name, is a striking collection of tunes that pulls the listener in with lyrical honesty, beautiful imagery and Ryan’s magnificent, sweet voice, which conveys sadness, loss, playfulness and sexiness in equal doses.
“I had this idea: the record was only going to be about girls, be it the daughter I never had, a heroine of my mine, my grandmother or a woman who lived near me in Ireland,” says Kelley. “It’s all from the feminine perspective. Even in the music – there’s no electric guitars, it’s just acoustic and loops and strings. I mean, I love three-minute electric-guitar pop songs, but I wanted to create something more comfortable for me and stay in that mood.”
Rather than sounding samey or downbeat, Twist as a bassist, and his wife Marti Jones adds her lovely vocals to the mix on a number of the songs (including the ‘60s pop homage “Key to My Heart,” which she wrote with Ryan, and the uber-hooky “About a Girl,” which Ryan and Jones co-penned with Dixon). In addition, the legendary Van Dyke Parks provides gorgeous, tasteful string arrangements to two of the songs.
Twist glides easily from the winking sassiness of “Monkey with a Flashlight” and soft ‘n’ sweet numbers such as “Fly Julie” and “The Lady’s Daughter” to lyrically tart ditties such as “Bleeding a Girl” and the humorous, reggae-tinged “The Speaks.” Also among the dozen songs are a spare, haunting take of Beck’s “Lost Cause,” which, like all the other tunes, is lifted into the stratosphere by the pure emotion of Ryan’s voice. Simply amazing. www.kelleyryan.net
. The UK-based songstress recorded the 14-track effort with first-class production and instrumental assistance from Peter Hackett and the team of Roque Esteban and Coke Belda (aka Spanish popsters Cokeroque), with Dunn handling the lead vocals and the bulk of the backing vocals as well.The songs are across-the-board memorable – personal standouts are the gently swaying “Seattle in the Sun,” the punchy, harder rocking “Pull You Down” and the atmospheric title track, an epic kiss off to a failed relationship. Most of the songs on Soonville , which is due for release any day now. She has also released a few non-LP tracks on iTunes – including a dark-yet-catchy little number called “Why” and the awkward and strained “(To Your Music) I Dance Alone” – and provides sweet vocals to a slightly maudlin collaboration with singer/songwriter Laurie Biagini called “In the Eyes of a Little Girl,” which is most notable for its borrowing of the main piano figure from the Left Banke’s “Pretty Ballerina.
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