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2010 Ends on a Carousel Ride BACKSTREETS MAGAZINE WINTER 2011 ALL INTERIOR PHOTOS by DANNY CLINCH EXTERIOR PHOTOGRAPH by MARK KRAJNAK

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2010 Ends on a Carousel Ride BACKSTREETS MAGAZINE WINTER 2011 ALL INTERIOR PHOTOS by DANNY CLINCH EXTERIOR PHOTOGRAPH by MARK KRAJNAK Live at the Carousel In December 2010, Bruce Springsteen gathered E Streeters in Asbury Park to perform and film songs from his new release ‘The Promise’ — plus an irresistable “Blue Christmas” for the season — where the merry-go-round used to be. Thom Zimny’s ‘Songs From The Promise’ streamed online as a 2010 holiday treat, but only briefly. Now, to close the decade, the songs are back. Our coverage from writers Caryn Rose and Glenn Radecki took readers inside, for a look at all 11 songs and a unique performance in Springsteen history. FROM 2010 Ends on a Carousel Ride BACKSTREETS MAGAZINE WINTER 2011 ALL INTERIOR PHOTOS BY DANNY CLINCH EXTERIOR PHOTOGRAPH BY MARK KRAJNAK WINTER 2011/2012 BACKSTREETS PAGE 13 PAGE 14 BACKSTREETS WINTER 2011/2012 December 7, 2010 given the fact that the entire E or Jon Landau, telling you to turn watching the video monitor were Songs From The Street Band (plus David Lindley it inside out or put on a loaned able to see Bruce and Steve enact and a five-man horn section, but (black) shirt instead; where acci- a classic James Brown routine, Promise minus Nils and Patti) as well as dentally stepping in the wrong with Bruce on his knees and Carousel House band crew and a large camera place or thrusting your arms in Steve exhorting him to get up at Asbury Park, NJ crew were all assembled in a the air a little too hard might the end of “Talk to Me.” With the Darkness-era E Street space that used to house a mer- accidentally cut off vital elec- Around 4:00, the waiting Band, plus Charlie Giordano, ry-go-round. The audience was tronic connections. No joke: the crowd was led into the carou- David Lindley, and horns comprised of guests and fam- drum tech lost connectivity with sel house in small groups and ily members (including Adele Max because of a kicked-out cord, positioned in various locations The first and only perfor- Springsteen, prominently placed and Eddie Manion’s sax mic got around the stage. Or the area mance by the E Street Band in in front of Steve Van Zandt), pulled out during an enthusiastic serving as the stage—except 2010 improbably materialized together with the lucky winners fist-pump by an adjacent fan. for risers for Max, Roy, and the on a bone-chilling and blustery of a Backstreets-run contest. Starting in the late morning on horns, the band was on the black- Tuesday afternoon in Asbury The configuration inside the December 7, the band had been canvas-covered floor in the cen- Park, at an equally improbable carousel house was reminiscent rehearsing behind closed doors ter of the space, on the same level location: the former carousel of early Unplugged stage con- (but audible to the fans standing as the audience. Once the crowd house adjacent to the old Casino figurations, with the audience outside in the cold along Asbury was positioned to the satisfac- on the boardwalk. Almost a year literally feet away from, and at Avenue) for several hours. Shortly tion of the crew, the film shoot after Bruce assembled the 1978- the same level as, Bruce and the before 3:00 that afternoon, the began with the ‘78 version of era E Street Band members and E Street Band. Instead of being contest winners were escorted “Racing in the Street.” Over the Charlie Giordano for the Darkness seated—or standing—in front of inside to a staging area adjacent course of the next four hours, the live recording at the Paramount a stage, the audience was posi- to the carousel house (the for- band would perform ten songs Theater on the other end of the tioned practically around the mer arcade that was part of the from The Promise, each of which boardwalk, he brought the same band, both behind and in front Casino), where the rehearsal was performed in its entirety at group together to record the first of them. This created an atmo- was clearly audible. The band least twice. In addition, Bruce live performances of material sphere where you could clearly wasn’t ready for an audience yet, frequently directed the band to from The Promise. read the charts Max had written so tour manager George Travis reprise sections of songs in order Unlike the Paramount perfor- up for “Racing in the Street”; arranged for a small video moni- to get endings, solos, transi- mance, this time the band would where the wrong choice of T- tor to be brought out so that the tions, and even lighting to the perform in front of an audience, shirt would prompt a personal waiting fans could see as well as satisfaction of himself, Zimny, albeit an extremely small one, visit from director Thom Zimny hear. Among other things, fans Landau, or a combination of the DANNY CLINCH PHOTOS DANNY WINTER 2011/2012 BACKSTREETS PAGE 15 DANNY CLINCH PHOTOS DANNY three. This was, after all, a work- “Racing in the Street (’78)” and Here, one of the reasons the ing a good time, he talked about ing film shoot first and a perfor- “Come On (Let’s Go Tonight),” ending was taped multiple times his mother and the Rock and mance second. as well as adding texture to “The was because Bruce gave very spe- Roll Hall of Fame exhibit, and For the guests lucky enough Promise” and a solo on the show’s cific direction that he wanted the he explicitly told one fan (who to be admitted to the taping, it finale, “Blue Christmas.” Bruce lighting behind him to fade out suggested that Bruce to take an often felt like standing just off- also brought a five-piece horn while still keeping him in a spot- entire horn section on tour with camera in Barry Rebo’s footage section to the show, with Curt light, and the lighting crew was him) that “there ain’t gonna be from the Darkness box set: the Ramm and Barry Danielian on having difficulty with it (after a tour.” band worked out cues, chords trumpet, Clark Gayton on trom- one take, admitting over the PA As Springsteen’s comfort level and arrangements on the fly and bone, Manion and Stan Harrison that they just forgot). with the fans increased, he began in the open, whether it was Bruce on saxophone; the horns joined The process of filming this experimenting with incorpo- clarifying Max’s drum part at the in on “Gotta Get That Feeling,” song (which regrettably, in the rating the fans directly into the beginning of “Save My Love” “The Brokenhearted, “Talk to end, did not make the cut for the performance. Everyone present or Steve coaching and conduct- Me” and “Blue Christmas.” webcast) was the most intense was on their best behavior— ing the horns at the end of “The The performances of “The example of having the opportu- there was no shouting, scream- Brokenhearted.” It was clear, Brokenhearted” were easily nity to observe Springsteen at ing or Brooocing at inappropriate watching the performance, what among one of the most memo- work, as opposed to Springsteen moments—and as a result, Bruce a perfectionist Bruce can be, and rable moments of the evening. on stage in front of 20,000 peo- increased the level of direct audi- how the smallest details—the Two takes were completed, ple. As a fan, you’ve heard stories ence interaction as the shoot volume on a particular note, the and then Bruce redid the end- about his dedication, his perfec- went on. He began by asking speed of a transition in and out ing three more times. He kept tionism, and his need to get even the fans to come onto the stage of a guitar or saxophone solo, coming over and speaking with the smallest details to his satis- and surround him as he stood on the pace that lights were brought the horn section, discussing how faction; it’s another thing entirely Max’s drum riser on his cue at down for dramatic effect—were best to achieve the effect he was to watch it unfold right in front the end of “Save My Love.” considered and corrected as hoping to get—he wanted them of you. After a short break, during appropriate. to fade out more obviously than As the event progressed, Bruce which the audience was repo- The show included seven live they were able to in a live set- began to directly interact with sitioned (fans at the back came performance debuts from The ting. Steve came over to offer his the members of the audience to the front, and vice versa) and Promise, with renditions of each advice, and in each of the three between songs, chatting and the band socialized and chatted song mostly faithful to the ver- retakes of the ending, he turned shaking hands during filming amongst themselves, the shoot sions released on the box set. to direct them in the darkness breaks, as well as cracking the began again with “Ain’t Good David Lindley made a guest while Springsteen sang the end- occasional joke. He asked where Enough For You.” Bruce started appearance to reprise his contri- ing at center stage, lit in a spot- people were from, he asked if to walk along the edge of the butions by joining in on violin for light. people were doing okay and hav- “stage,” but there were no fans to PAGE 16 BACKSTREETS WINTER 2011/2012 12-7-10 Live from the Carousel Racing in the Street ‘78 (x2) H 0 Gotta Get that Feeling (x2) H 0 Outside Looking In (x2) One Way Street (x2) Come On (Let’s Go Tonight) (x2) Save My Love (x3) The Brokenhearted (x2) Ain’t Good Enough For You (x2) H The Promise (x2) H Talk To Me (x2) Blue Christmas (x2) H H Video released on Songs From ‘The Promise’ webcast and DVD 0 Audio available on 2011 Record Store Day 10-inch, Live From the Carousel interact with, as there was a track that it seemed a very long time wall of the carousel house, rather Christmas,” slightly different and for the main camera between the to be “situated up there.” In the than at Bruce’s feet) switched not quite as faithful to the origi- fans and the band.
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