(The Bottom Line 13th August 1975)
The Bottom Line,
New York City
Presents...
BRUCE SPRINGSTEEN
& THE E STREET BAND
13th August 1975
14th August 1975
15th August 1975
16th August 1975
17th August 1975
" Nearly three hours into the
Friday night late show during his recent stand
at New York City's Bottom Line,
Bruce Springsteen, singer, songwriter, guitarist
and cause celebre, staged a
mock collapse into the arms of his sax player, Clarence
Clemons. "I don't think
I can go on Clarence", he croaked. "it's
cholesterol on my heart.
My doctor told me if I sang this song once more he wouldn't
be responsible. But I
gotta do it, Clarence, I Gotta." With that he hurled himself into
a hoarsely exultant final chorus of Twist And Shout.
It was pure corn of course,
but a perfect instance of the way Springsteen can launch into a bit of
theatricalized melodrama, couch it in affectionate parody and wind up heightening
his own overwhelmingly personal rock and roll impact.
The ten sold out Bottom Line
shows may have been carefully orchestrated to garner press quotes and industry
attention, but that didn't make the enthusiasm any less genuine.
There were block long lines of people hoping to buy the fifty standing
room tickets for each show.
Every performance saw a good
200 extra bodies crammed into a club that supposedly seats 400. Springsteen's
entrances were greeted with standing ovations, and by the end of each set
the crowd's mood was one of delirium."
John Rockwell
Rolling Stone Magazine October 1975
"...The shows will rank among the great rock and roll experiences of those lucky enough to get in. Mr Springsteen has it all - he is a great lyricist, a wonderful singer, guitarist and piano player, has one of the best bands anybody has ever heard, and he's as charismatic a stage figure as pop has produced."
The New York Times
October 1975
" Not since Elton John's initial Troubadour appearances has an artist leapt so visibly and rapidly from cult fanaticism to mass acceptance as at Bruce Springsteen's ten Bottom Line shows. Hundreds of fans lined the Village streets outside the 450 seat club each night, hoping for a shot at fifty standing room spots. It was time to hail from Jersey with pride."
The songs invariably build from a whisper to a scream, not only because Springsteen's composing focuses so often on dynamics, but also vocally and emotionally. When Springsteen slips into one of his sly tales of life in the Jersey bars all of them matured in, drummer Mighty Max Weinbergand bassist Gary Tallent key their comping to his every expression and gesture. It sounds natural but is about as spontaneous as Pearl Harbour. Saxman Clarence Clemons and guitarist Steve Van Zandt are perfect foils for these stories, the ominous cool of Clemons playing off the strange, hipster frenzy of Van Zandt while Springsteen races back and forth like an unleashed puppy. They look tough and live up to their looks.
Springsteen doesn't write rock opera; he lives it. And, as all those teenage tramps in skin-tight pants out there know, it's the only way to live."
Dave Marsh
Rolling Stone Magazine 25th September 1975