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(Above: Bruce Springsteen isn’t even close to being the biggest legend onstage in this historic performance of “I Saw Her Standing There” from 1987.)

By Joel Francis

“Rock Hall Live,” an exquisite nine DVD box set of performances and speeches from the past 25 years of Rock and Roll Hall of Fame induction ceremonies is a treasure trove for all music fans, but it should especially attractive to Bruce Springsteen fans. Springsteen appears on all but two of the discs in more than a dozen performances and nearly as many speeches. As the unofficial MC of the collection, Springsteen makes more appearances than anyone else.

The Daily Record previously reviewed “Rock Hall Live.” On Monday and Friday of this week it will examine every Springsteen performance on the collection. Although these performances are scattered throughout the box set, we will look at them in chronological order. On Wednesday, The Daily Record will review Springsteen’s concert at the Sprint Center in Kansas City, Mo. (NOTE: Tuesday’s concert was cancelled because of the death of Springsteen’s cousin and road manager. On Wednesday The Daily Record will discuss Stevie Wonder’s 1968 hit “For Once in My Life.”)

1987 – “(Oh) Pretty Woman” (with Roy Orbison)

The footage from these early inductions – 1987 heralded the Hall’s second class of members – is shaky and the audio is questionable at best. Surrounded by Bo Diddley, Smokey Robinson, B.B. King, Carl Perkins and scores of other music legends, and awestruck Springsteen pays tribute to the man he immortalized in the lyrics to “Thunder Road.” Springsteen is so excited he forgets the song in a couple places, but his joy at being able to celebrate with Roy Orbison is infectious. Two years later, Orbison was gone and Springsteen paid him another tribute by performing “Crying” at that year’s ceremony.

1988 – “I Saw Her Standing There” (with Mick Jagger and the Rock Hall Jam Band)

It takes the cameraman a few moments to find the vocalist amongst the throng of performers onstage, but the camera finally lands on Billy Joel, belting out the first verse from the peanut gallery. Mick Jagger takes the second verse with an assist from George Harrison. Somewhere onstage, Ringo Starr is one of several happy drummers, making the occasion the closest thing to a Beatles reunion to happen until the Anthology project. (Paul McCartney was feuding with Harrison and Starr at the time and opted not to attend.) After a guitar solo from Jeff Beck, Springsteen finally gets the mic for the third verse. Despite forgetting a few of the words, he exuberantly finishes the number with Jagger.

1988 – “(I Can’t Get No) Satisfaction” (with Mick Jagger and the Rock Hall Jam Band)

In his 2004 speech inducting Jackson Browne to the Rock Hall, Springsteen says he wishes he’d written “Satisfaction.” Sixteen years earlier, Springsteen realized part of his dream by performing the number with half of its authors. Surrounded by John Fogerty, Bob Dylan, Harrison, Beach Boy Mike Love, Jeff Lynne, Tina Turner, Ben E. King and keytar-rocking band leader Paul Schaffer, Springsteen trades lines with Jagger on the chorus. Sporting a gray suit and bolo tie and backed by E Street drummer Max Weinberg somewhere in the swarm, Springsteen is little more than a vocal prop in this chaotic number.

1993 – “Green River,” “Born on the Bayou,” “Who’ll Stop the Rain” (all with John Fogerty and Robbie Robertson)

Springsteen plays rhythm guitar and adds backing vocals to this trio of Creedence Clearwater Revival classics. Still upset at his former CCR band mates, John Fogerty refuses to perform with Doug Clifford and Stu Cook. The tension between the three is evident during the acceptance speech, but it completely dissolves once Fogerty straps on his guitar and steps behind the mic. The songs don’t really need three guitarists, but Springsteen is elated to be performing with yet another idol and happy to let Robbie Robertson and Fogerty do all the heavy lifting. There is also rehearsal footage of Springsteen, Fogerty, Robertson and bass player Don Was playing around with different arrangements. Robertson is clearly in charge of the ensemble and again Springsteen seems content to observe. Springsteen does jump into action, however, to work out the harmony vocal line with Fogerty and to successfully lobby for the inclusion of “Green River.”

1994 – “Come Together” (with Axl Rose)

This is a bad idea on paper and it’s even worse onstage. Springsteen looks stiff, sharply strumming a black Stratocaster that matches his tuxedo. A few paces away, Axl Rose more relaxed wearing jeans and flannel as he bobs and weaves like a snake hearing some inaudible flute. This isn’t a duet so much as two performers doing the same song in a shared space. Rose’s voice is fine in its own context, but it’s rarely complementary. His performance here is so grating it makes one long for Aerosmith’s version (shudder). Springsteen seems relieved when the song finally ends.

Keep reading:

Springsteen Rocks the Hall (part 2)

Review: Boss is Bigger than Big 12 Tourney (2008)

Bruce Springsteen and Tom Morello – “The Ghost of Tom Joad”

Review: Springsteen’s “Dream” Needs More Work

Springsteen in the Waiting Room: Drop the Needle and Pray

New DVD Set Celebrates Rock Hall Performances

More Bruce Springsteen in The Daily Record

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Above: “True Love Ways” is The Daily Record’s favorite Buddy Holly song.

By Joel Francis

Fifty years ago this week, the plane carrying Buddy Holly, Ritchie Valens and the Big Bopper crashed in an Iowa cornfield, claiming its passengers and 22-year-old pilot Roger Peterson.

The event became known as “The Day the Music Died,” but the fact people were still talking about it 12 years later when Don McLean memorialized the moment with the song “American Pie” proves that music indeed survived.

The rock landscape had changed a lot between 1959 and 1971. The pioneers of the rock and roll were having hard time. Chuck Berry had bounced from Chess to Mercury and back and was seven years removed from his most recent Top 40 hit (although the No. 1 “My Ding-A-Ling” was right around the corner). Carl Perkins was performing as a sideman in Johnny Cash’s band and Little Richard, Bo Diddley, Fats Domino and Bill Haley dismissed as washed up. Only Elvis Presley and Jerry Lee Lewis retained a whiff of their ’50s fervor, but it took a televised “comeback” special and a genre hop to country and western for them to manage the trick.

That Holly was not only remembered, but celebrated in the aftermath of Woodstock and Altamont, in an era where rock’s excesses were just starting to steamroll, was not pure nostalgia.

Far from killing rock and roll, Holly planted the seeds that allowed it to flourish. Holly was one of the first artists to recognize the recording studio as creative environment, by experimenting with double-tracking and overdubs. He was the first songwriter to pilfer the Bo Diddley beat for “Not Fade Away.” He was the first rock and roll star to play a Fender Stratocaster, the guitar of choice for Eric Clapton, Jeff Beck, Jimi Hendrix, Stevie Ray Vaughan and countless others.

Although the Beatles often receive credit for being the first group to write their own material and put strings on a rock album, the truth is, Holly did both nearly a decade before them. It’s not a big leap from Holly’s “Raining In My Heart” to McCartney’s “Yesterday.”

But the most amazing of Holly’s feats is that he did it all by 22, an age at which Bob Dylan was just emerging from his Woody Guthrie fixation, Brian Wilson was begging out of tours because of stage fright and Neil Diamond was still trapped in the Brill Building.

Few mourn other ’50s rock casualties, like Eddie Cochran, who died a scant 14 months later, but Holly’s influence continues to be felt today. It’s  in Elvis Costello’s spectacles, Weezer’s Top 5 1994 hit, and the myriad of bands – ranging from the Rolling Stones to the White Stripes to the cover band in the bar around the corner – who regularly drop “Not Fade Away” into their sets.

The day the music died? Not even close.

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