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Back at the Basie

logo_backstreets.comBACK AT THE BASIE WITH BANDIERA, BONDS, BON JOVI, & MR. GRINCH – DEC. 22. 2008: Springsteen drops in to wish Red Bank crowd a Merry Christmas, Baby!

It’s all cold down along the beach… the wind’s whipping down the boardwalk… and it’s freezing in Red Bank, where Bruce showed up tonight to bring some extra warmth to the newly renovated Count Basie Theatre. Just as in 2006, with no area holiday shows of his own, Springsteen chose to join in the festivities at Bobby Bandiera’s Hope Concert.

On the bill with Bandiera’s Jersey Shore Rock-N-Soul Revue were Tim McLoone and the Shirleys, Brian Fallon, Nicole Atkins, Gary U.S. Bonds, Southside Johnny, and Jon Bon Jovi; Springsteen’s surprise appearance came at the end of the night, as he joined the house band and a few of the bill-toppers for a few Christmas songs, two classic covers, and one of his own.

The night’s format had crossover between artist’s sets: Gary U.S. Bonds (after notably performing Bruce’s “Action in the Street”) was joined by Southside Johnny for “This Little Girl” to segue into Southside’s set; Johnny was joined on his last song by Jon Bon Jovi for “This Time It’s For Real.” When it came to Bon Jovi’s last song, out came Springsteen to back him up on “Run Run Rudolph,” playing lead guitar and hollering backup on the final chorus.

“Happy holidays!” said Bruce, otherwise a man of few words tonight. (Leave the quotables to Southside: “I’d wish you a merry Christmas, but it would be out of character” and “I get so sentimental, I have to drink myself into oblivion.”) Springsteen opened his own set with a doubleshot of his holiday B-sides, “Merry Christmas, Baby” followed by “Santa Claus is Coming to Town.” Southside — “Mr. Grinch” — joined in on the latter, and LaBamba came downstage to take Clarence’s part, “you better be good for goodness’ sake.” (LaBamba and Mark Pender brought the horn section headcount to eight for Bruce’s set.)

After Bruce went it alone on “634-5789,” Bon Jovi came back out to split the vocals on “Tenth Avenue.” And a final encore, as Springsteen was joined by Southside, singing lead, and Bonds for a rousing “Havin’ a Party.” Weather outside: frightful. Inside: plenty hot.

Source: BACKSTREETS.COM

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Destination Jukesville

Going to JukesvilleBACKSTREETS MAGAZINE – BY MIKE SAUNDERS – SEPTEMBER 2002

In the late winter and early spring of 2002, one of New Jersey’s homegrown musical heroes recorded a new album with his famous band. It was quickly mixed, mastered and released in the summer to widespread acclaim. It’s a familiar story, but I’m not talking about “The Rising” here. I’m referring instead to “Going to Jukesville,” the brand new album by Southside Johnny and the Asbury Jukes.

Reflecting the various Soul styles Southside loved when he was growing up, this 55-minute, back-to-basics collection features an exhilarating blend of Southside’s patented world-weary, whisky-seasoned lead vocals, swirling Hammond organ, a series of memorable hooks, persistent riffs, infectious rhythms and more horns than Manhattan in the rush hour.

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Southside Fans flock to New Jersey

Backstreets 2001 - Issue No.71BACKSTREETS MAGAZINE – BY MIKE SAUNDERS – MARCH 02.- 04.2001

“I wanna get intense tonight, I don’t care about nothing,” said Southside Johnny to a gathering of his most enthusiastic supporters last winter. “We got a chance to play for some people that understand what the fuck is going on!”

He’d played thousands of shows across the globe in his long career, but this was something different. The occasion was Jukestock, the world’s first Southside Johnny and the Asbury Jukes fan convention, held at a Holiday Inn in Tinton Falls, New Jersey, over the weekend of March 2-4.

The event was organised almost entirely via e-mail by long-term fans Debbie May, Jane McCreery and Ties That Bind New Jersey editor Maggie Powell, who started the ball rolling after attending the wedding of long-term Jukes fans Stan and Kim Lisowski last year. They had hired La Bamba and the Hubcaps to play at their reception and Maggie was instantly hooked. “I was totally blown away by the Hubcaps’ performance and that was it. The seed was sown.”

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Secret History of the Miami Horns

BACKSTREETS MAGAZINE – BY MIKE SAUNDERS – 1998

A question by Ulf Ellestrom on Lucky Town Digest regarding the 1976/1977 Miami Horns attracted my attention. I regularly write about Bruce and Southside for the UK fanzine The Ties That Bind and for the past 12 years I’ve researched the history of the Asbury Jukes to exhaustion, particularly the 1975-1978 period and the links to Bruce, Miami Steve and the E Streeters.

I’ve been lucky enough to interview Southside at length on a couple of occasions and have put together a highly detailed Jukes Family Tree, listing just about everybody who has ever played with the band from 1975 to the present day, including, of course, a million horn players. I’d now like to contribute my interpretation of events, which I believe to be the most accurate. For the record, YES there were two sets of Miami Horns operating during the period in question (one with Bruce, the other with Southside), and NO they weren’t the players listed in the Backstreets book.

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Backstreets Interview

BACKSTREETS MAGAZINE – BY CHARLES R. CROSS

When God was dishing out talent to the Asbury Park set, he gave Bruce Springsteen songwriting, Miami Steve producing and for Southside Johnny Lyon, he saved something very special: The Voice. Southside may very well have one of the purest rythm and blues voices this side of Otis Redding. Watching him perform in a small smoke filled club with his band, the Jukes, one of the best bands in America, is something akin to the second comming of rythm and blues.

Southside grew up in Ocean Park right next to Asbury Park and he was a seminal figure in that early scene, jamming in countless bands with Bruce, Steve and a host of other local legends. From his very start in the business everyone knew he had The Voice so Southside was always the choice when a shore band needed a singer. He knew the lyrics to over a thousand songs and his understanding and appreciation for early R&B is rivaled by few.

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