'Live in Asbury Park, Vol. 2'
What The Critics Say
It seems Clarence Clemons has been playing a lesser role with each new Bruce Springsteen and the $E Street Band tour. It could be his faltering health (hip replacement, detached retina) or the fact that Springsteen is coming up with songs that don't seem to call for much sax anymore. Either way, Clemons gets plenty of blowing time leading his own septet. On Live From Asbury Park, he tackles three rare Springsteen originals; an instrumental version of "Small Things," the similarly unreleased "Savin' Up," and the rollicking showpiece "Paradise by the C." On the latter tune, Clemons seems to run out of breath a bit, and his bandmates don't seem to able to support him very well. This tune probably should have been left off. Celmons' originals vary between your average-but-fun bar band boogie ("C.C. Angel") and some moody ballads ("Livin' Without You"). Seems it was a fun night, watching the famous Clemons at a relatively intimate venue (it was outside though, not actually inside the Stone Pony), but the disc leaves you with the impression that fans were hoping for Springsteen to show up and jam (he did, a different night, and does not make an appearance on this disc). On a well-produced studio recording perhaps, this band could really shine. ~ John Duffy, All Music Guide
What The Critics Say
You are likely to find this instrumental album in either the Jazz or New Age sections of the record store. Tenor saxophonist Clarence Clemons creates attractive mood music that matches an unusually smooth sax sound (especially for him) with a variety of percussion instruments so broad that the list of them in the album's booklet concludes "... and some other stuff we can't pronounce or spell." It makes for an eclectic selection of music appropriate for the all usual new age functions, from meditation to cooking. ~ William Ruhlmann, All Music Guide
What The Critics Say
The problem with Clarence Clemons' third solo album was apparent on the first cut, a remake of Gary "US" Bonds's "Quarter to Three." The song was one Clemons frequently played in Bruce Springsteen's E Street Band, in a faithful rendition of the original. But here Clemons turned rapper over a synthesizer backing, retaining only the chorus, and even then changing "Daddy G" to "Mr. C." Similar modernizing was applied to classics like "Shotgun" and "Twistin' the Night Away," and if one wasn't as offended by the originals (which tended toward bland jazz-fusion), neither was one impressed. Things didn't improve when Clemons began reciting the poetry of his guru, Sri Chinmoy. It was hard to imagine who the audience was supposed to be for this record -- those who remembered "Quarter to Three" wouldn't like such a radical treatment, and rap fans weren't likely to be convinced, either. As it turned out, there was no audience for A Night With Mr. C, which didn't sell well enough to make the charts. ~ William Ruhlmann, All Music Guide
What The Critics Say
Narada Michael Walden produces most of this album by Mokshagun Clarence Clemons, known to the world as the "Big Man." His unmistakable saxophone that lifted many a Bruce Springsteen tune sounds like it was lifted right out of a Phil Spector session on Hero. "You're a Friend of Mine" by Jeffrey Cohen and Narada has Jackson Browne dueting on the lead vocal with Clemens and his then-girlfriend, Daryl Hannah, on backing vocals. The same songwriting duo comes up with "Temptation," a hooky, smart, mid-'80s thick-pop sound with Booker T. Jones again on keyboards. For "It's Alright With Me Girl" it's the very hip Jonzun Crew backing up Clemons: Michael Jonzun, Gordon Worthy, guitarist Tony "Rocks" Cowan, Maurice Starr on bass, and Princess Loria on vocals, with stunning dynamic switches from Narada Michael Walden to Michael Jonzun in a flash. Clemons and Jonzun put "It's Alright With Me Girl" together, and it's a shame there aren't four or five more of these collaborations. One oddity on the album is the closing to side one, the Arthur Baker-produced remake of the Walker Brothers' hit "The Sun Ain't Gonna Shine Anymore," with Stu Kimball from Face to Face and Phil Spector singer Darlene Love. The title track, which kicks off side two, is a tremendous song about being a lover and a friend. "Crossin' the Line" works, as does "Kissin' on You," where Clemons' nickname, the Big Man, is one of the hooks. The leadoff track with Jackson Browne went Top 20 in 1985, four years before his first go-round with the E-Street Band was concluding. It's great to see a musician step from the shadows of a legend and make a mark on his own, and Clarence Clemons does that remarkably well here. This is a record where dropping names means something, because the names are allowed to do what is expected of them. It's a beautiful work that will appeal to those who never found the Boss all that exciting. Of course, it might appeal to Springsteen fans as well. ~ Joe Viglione, All Music Guide
What The Critics Say
As Bruce Springsteen labored over the album that would become Born In The U.S.A., E Street Band tenor saxophonist Clarence Clemons took the opportunity to create this busman's holiday, fronting a septet he called The Red Bank Rockers. The group's lead singer was John "J.T." Bowen, a gruff-voiced shouter in the tradition of Wilson Pickett, and Clemons assembled such songwriters as Ellie Greenwich and Desmond Child to put together a set of neo-'60s R&B ravers. Also included was Springsteen's "Savin' Up," on which The Boss played rhythm guitar. Of course, Clemons himself played lots of sax in the rock & roll style of King Curtis and Steve Douglas. The album suggested that The Rockers might be a good band to catch on a hot night in Red Bank. But it didn't make anyone mistake Clemons for anything other than a talented sideman. ~ William Ruhlmann, All Music Guide
