This story originally appeared in the Asbury Park Press on Oct. 18, 1995.
ASBURY PARK – Just 24 hours after announcing a release date for his long-awaited new album and concert tour, Bruce Springsteen finally confirmed the worst-kept secret in rock ‘n’ roll yesterday, stepping onstage at the Stone Pony to sing and play lead guitar with his pal, Pittsburgh-based Joe Grushecky and the Houserockers.
Bruce Springsteen joins Pittsburgh rockers Joe Grushecky, left, and The Houserockers for a guest performance at the Stone Pony music club in Asbury Park, N.J., on October 17, 1995. Springsteen was helping to promote Grushecky’s new album “American Babylon.”
An audience estimated at more than 1,250 packed into the legendary club last night to watch the show, part of a short tour cobbled together to promote Grushecky’s latest album, “American Babylon.” The album, released yesterday, is co-produced by Springsteen and was partially recorded at his California home.
Though Springsteen took the time to jam with Grushecky in July at the Tradewinds nightclub in Sea Bright — bringing along celebrities Max Weinberg, Little Steven Van Zandt, Tim Robbins, Susan Sarandon and about 3,000 fans — no one at the Pittsburgh rocker’s management or record companies would admit the Boss planned to show for last night’s concert.
But by yesterday morning, radio disc jockeys throughout the area were shouting the news. Tickets to the show originally priced at $15 were selling for $60.
About 30 minutes into Grushecky’s show, the assembled fans got their wish as Springsteen ambled on stage following a short introduction. Wearing a blue cap to hide his face from the flashing cameras, Springsteen led the band through rousing versions of new Grushecky tunes such as “Labor of Love” and “Chain Smokin’.”
A day earlier, Springsteen said, “We’d like to give this record a good little kickoff.” In an exclusive interview conducted after a 4-hour rehearsal with Grushecky’s five-member backing band Monday night, he said, “I’m going to try to find the time to do all the shows this week.”
That means Grushecky’s special guest will take the stage tonight at Tramps in Manhattan, tomorrow at the Electric Factory in Philadelphia, and Friday and Saturday at Nick’s Fat City in Pittsburgh, helping promote yesterday’s release of “American Babylon” on New York-based Razor and Tie Records.
It’s all part of Springsteen’s effort to create a situation where Grushecky, who left a 9-to-5 job as a tutor and counselor earlier this year, can support himself solely through his music.
“The first phase is done. . . . We got him off the day gig,” said Springsteen, laughing. “The second phase is to try and keep him off. He has made a lot of very tough, honest music, and there should be a place in the world for that. People should be able to hear it if they want to.”
Making such altruism even tougher is Springsteen’s own plans, just announced Monday, to release his 13th album, “The Ghost of Tom Joad,” on Nov. 21. The name is a nod to author John Steinbeck’s classic “The Grapes of Wrath.” The 12-song record features a stripped-down, solo sound reminiscent of his work on 1982’s “Nebraska.”
Springsteen refused to talk about his new record or upcoming theater tour (a solo affair that’s still in the planning stages). “That’s for another time,” he said. “This is Joe’s time right now.”
But he acknowledged that preparing for “Joad’s” release, and helping Grushecky has spread his own time a little thin.
All these projects come as industry insiders are busy handicapping the 45-year-old rocker’s own commercial appeal. On the one hand, he has won Grammys and an Oscar for “Streets of Philadelphia.” But 1992’s “Human Touch” and “Lucky Town” albums were commercial disappointments, and it has been 20 years since Springsteen first burst into national consciousness by making the covers of both Time and Newsweek in October 1975.
Some see Grushecky’s inability to land at a major-label record company — despite active sponsorship from one of rock’s biggest names — as evidence that Springsteen’s reputation may not be what it once was.
“Joe is a grown man making grown-up rock ‘n’ roll. … So if it pushes you to the margins in the industry, what can you do?” Springsteen asked. “You get guys who are Joe’s age and my age and it gets a lot tougher in this business. I’ve been in this business for a while — had some measure of success in things — and I’m not sure what the music business bases it’s decisions on. I like the record, and I think Joe’s really happy with it. … That’s what matters.”
But the rock superstar is reluctant to blame his or Grushecky’s problems on any youth-oriented bias in rock music.
“Every generation needs a good, youthful antihero. . . . That’s a good thing and very natural,” he said, “but at some point, you’ve got to close your eyes and let the music guide you.”
Certainly, the laid-back vibe of Monday’s rehearsal, played to a nearly empty Stone Pony club, stood in stark contrast to the bedlam of fans and spectators who would fill the venue just 24 hours later.
Emerging from a tour bus decked out with two televisions, stereo sound system and bunk beds, the Houserockers took their time in setting up the stage and rehearsing songs for the upcoming show, even allowing Grushecky’s young son to fool around on the drum kit during a short dinner break.
In the space of over four hours, the band ran down a variety of songs, from covers such as Johnny Cash’s “Folsom Prison Blues” and a joyous version of the Rolling Stones’ “Gimmie Shelter” to Grushecky-penned classics such as “Pumping Iron” and new compositions, including “Dark and Bloody Ground.”
Noticeably absent were Springsteen classics “Glory Days,” “Darkness on the Edge of Town” and “Jersey Girl,” an omission made on purpose, according to members of the Houserockers.
“Bruce said he wanted to avoid what he called his signature tunes,” Houserockers drummer Jeff “Joffo” Simmons said. “He wants the focus to be on Joe, so we’re doing older songs and a few more cover tunes.”
As the rehearsal progressed, Springsteen offered gentle suggestions to the players, particularly as the group tackled a complex arrangement for his tune “Light of Day.” Using his guitar to show where accents fell and how to handle transitions in the song, the Boss led Grushecky’s Houserockers through a rendition of the tune with a number of dynamic changes.
Reacting like a band that has been welded together through weeks of rehearsals, the Houserockers picked up on Springsteen’s direction easily.
“That’s just how it was recording the album,” Simmons said. “In fact, I think we rehearsed more for this show than for the album sessions.”
Springsteen seemed to agree. “I don’t think we’ll get booed off the stage,” he said, throwing on a coat after Monday’s rehearsal had concluded. “We might get a few bottles thrown as us . . . but we can handle that.”
This article originally appeared on Asbury Park Press: Bruce Springsteen plays the Stone Pony, Joe Grushecky, 1995
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