NJ REP GOES BACK IN THE USSR…AND DOWN THE MEMORY HOLE

L-R: Steve Brady, Benjamin Satchel, Andrea Gallo, and Amie Bermowitz star in the NJ Repertory Company production of D.W. Gregory’s MEMOIRS OF A FORGOTTEN MAN, opening this weekend. (Photos by Andrea Phox)

Published in The Coaster (Asbury Park, NJ) and The Link (Long Branch, NJ), August 15, 2019

In the 2018 feature film The Death of Stalin, a cast of veteran comic character players (including Steve Buscemi, Jeffrey Tambor, and Monty Python’s Michael Palin) has a blast detailing the often murderous machinations of a group of Russian Communist Party insiders, each one jockeying for top dog status after the longtime dictator Joseph Stalin drops dead on the carpet.

As D.W. Gregory reminds us, however, the transition between the uniformed Soviet strongman Stalin and the Cold War regime of the bullet-headed, business-suited Nikita Kruschev wasn’t exactly a barrel of laughs — not for the various party functionaries who feared they were on the wrong side of history’s gun barrel, nor for the “ordinary people, who really aren’t political themselves…but who get caught up in massive political upheaval, when society is completely re-ordered.”

The award winning playwright who makes her home these days in West Virginia has been spending a good deal of time in the beachier setting of Long Branch in recent weeks, observing rehearsals of the New Jersey Repertory Company production of her script Memoirs of a Forgotten Man. Described as a work that “wrestles with the idea of public memory…and deals with what happens when a regime rewrites history,” the play opens this weekend as the latest offering at NJ Rep’s branded playhouse on downtown Broadway.

Going up for a pair of preview performances beginning tonight, August 15, the drama is also the latest in a long line of partnerships with the National New Play Network, the organization through which nonprofit theaters like NJ Rep share in the “rolling world premiere” of a featured show, which is produced in several member locales, each with its own director and cast.

While the Long Branch-based professional troupe has often been first out of the box with NNPN shows, in this case Memoirs has been seen by audiences in West Virginia (at Shepherd University’s Contemporary American Theater Festival), and upstate New York (at Shadowland Stages in Ellenville). And, as the playwright (who has had two of her earlier scripts become fully staged productions at NJ Rep) sees it, that’s a good thing.

“As a writer who likes to stay involved with my work, I get to refine the script as it moves from theater to theater…which is great,” she says. “I actually wrote this play with NJ Rep in mind…I often think of their space when I’m writing…and I have to say I was a little dubious about the first production, which took place in a 400 seat house, although they did an amazing job with it!”

Moving back and forth in time between the 1930s era when Stalin cemented his grip on absolute power, and the space-age span of Kruschev, Memoirs of a Forgotten Man displays the signature fascination with 20th century history that served the veteran journalist well in past works like her celebrated Radium Girls (and particularly October 1962, the tense period piece that brought the Cuban Missile Crisis to the NJ Rep home front in 2004). There’s also an implicit parallel to our own American moment, in which the concept of “fake news” and some time-tested tenets of propaganda have combined with some previously unimaginable teechnologies to create a cultural environment in which (as she observed on the Shepherd University website) “we’re losing our grip on realiity because we can’t agree on the fundamentals of facts themselves.”

According to Gregory, “I had the idea for the play well before the 2016 presidential campaign…things like Fox News and Alex Jones, Infowars were on my mind…but I didn’t have a story to hang it on.” That all changed, however, when the author “stumbled across” two books that would bring the project into sharp focus.

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THE TIDE IS HI, AND THE TIME FOR TIKI SOUNDS IS NIGH

L-R; The 5-6-7-8s bring the Woo-Hoo sings…Eddie Angel spreads his wings (in The Neanderthals, plus his Guitar Project),…and Deke Dickerson puts some torchy twang on the strings, as the re-imagined HI-TIDE SUMMER HOLIDAY brings the coast’s biggest celebration of surf/ tiki/ retro culture back to Asbury Park on August 16-18.

Published in The Coaster (Asbury Park, NJ) and The Link (Long Branch, NJ), August 1, 2019

When the stars aligned, and all the elements were in place — as they were on a memorable afternoon and evening in August of 2017 — few summertime events made better use of their seaside setting than the Asbury Park Surf Music Festival. Parked on the Anchor’s Bend bar’s beachtop bandstand just off the good ship Convention Hall; the Atlantic waves at its back and the panoramic scene alight with passing ships, planes, drones and various heavenly bodies, the East Coast’s largest ever such gathering was a cool communal cocktail with a vibe that was both ambitiously international in scope, and as intimate as the most relaxing lantern-lit patio party.

Even when the elements didn’t completely get their act together — as in 2018, when excessive heat and threatened storms forced an indoor relocation to the ConHall floor — the AP Surf Music Fest still stood tall as the region’s only event of its kind; a celebration of a burgeoning worldwide instrumental music scene (and of the retro-rocketing “tiki” culture that tags along for the ride) that proved the Jersey Shore could compete with the likes of this week’s Tiki Oasis confab in San Diego. And, perhaps most impressive of all, the whole thing was the briny brainchild of two young visionaries named Magdalena O’Connell and Vincent Minervino.

For its sixth annual edition, the Festival returns under a new name — The Hi-Tide Summer Holiday, a nod both to the Hi-Tide Recordings mini-empire founded by the Freehold-based couple, as well as to the thematic expansions and logistical changes in store for the slate of happenings that kicks off with an afternoon Meet-Up at the Bend next Friday, August 16.

Speaking between turntable spins at The Wonder Bar — where he, Magdalena and colleague “DJ Devil Bat” preside over a deck-top Tiki Tuesdays series in August — “DJ Hi-Tide” allows that “we picked up a few learns from last year…one of them is the fact that you plan all year round, but you never control the weather!”

“Another factor is that the boardwalk and the beach have gotten really popular in recent years,” Minervino continues, adding that “it’s understandable why they wouldn’t want to block out an area of the beach for a ticketed event.”
With the additional caveat that the old festival format “was just a very long day…for us, the bands, and the audience,” Vinnie Minnie ‘n Mags re-imagined the old family recipe as a weekend-long affair “broken up into smaller events, spread out over a couple of evenings,” and centered largely around the various concert stages, rooftop spaces, lobby-level lounges and poolside patios of the Asbury Hotel and Asbury Lanes complex. Also on tap are late-nite record hops, scholarly seminars, and mixology demos at such “satellite” locales as Anchor’s Bend and downtown’s Little Buddy Hideaway — and while surf in all its reverb-drenched glory remains the active ingredient in the potent cocktail (thanks to the participation of 30-year veterans The Insect Surfers, SoCal’s Jason Lee & the R.I.P.tides, and Impala out of Memphis), the menu also boasts the retro-rootsrock ravings of Missouri’s Deke Dickerson and Canada’s Bloodshot Bill; the lilting luau tones of Philly’s Slowey & the Boats; the rockabilly exotica of California’s Hula Girls, and not one but two great all-female bands from Japan: The 5-6-7-8’s (famed for their appearance in Quentin Tarantino’s Kill Bill Vol. 1) and Lulufin the Woo Hoo.

“By expanding beyond just strictly surf, we’re tapping into a wider fanbase,” explains Magdalena, who devotes herself full-time these days to the management of the couple’s fast-growing record label (in addition to their previously established Big Slick Pomade line of hair products). “It’s gonna be quirky and fun.”

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THE ASBURY PARK THEATER CO. SALLY’S FORTH

TV legend Sally Struthers is the special guest host — and Broadway actress-singer Carter Calvert headlines the eve’s featured musical talent — whn the new Asbury Park Theater Company makes its bow with a Friday fundraiser at The Asbury Hotel.

Published in The Coaster (Asbury Park, NJ) and The Link (Long Branch, NJ), August 1, 2019

As the iconic hard-hatted Construction Worker character of The Village People — a role that he’s performed countless times in the latter-day edition of that disco-era institution — William Whitefield can be said to truly know what it takes to put on a show; both the choreographed spectacle that plays out to the crowd, as well as the brick ‘n mortar, hammers ‘n nails, elbow-grease reality required to present and sustain the whole grand illuson.

These days, the longtime resident of Asbury Park is trying on another hat — that of producing artistic director for the Asbury Park Theater Company, an ambitious new entity that makes its public bow this Friday, August 2, with a special fundraiser show at The Asbury Hotel.

As the veteran actor, singer, producer, director, composer and arts administrator tells it, “people come here for the culture, but an established theater has been a missing piece…we aim to create a professional theater company for this community, for Asbury Park.”

To make that happen, the Construction Worker teamed up with the Cop — Robert Angelini, the retired law enforcement professional turned multi-tasking player on the area’s stage scene. Angelini served as a founding board member (and artistic director in its later seasons) of ReVision Theater, the professional company that once upon a time staged some memorable entertainments at various bars, bingo halls, basilica, and boardwalk landmarks in the earlier years of the century.

“Both Bob and I are actors and directors, and we have an understanding of what it takes to put on a show,” says Whitefiled, whose tenure as executive director of the Algonquin Arts Theatre saw him play an instrumental role in the establishment of that Manasquan mainstay’s popular Broadway Series of self-produced musicals. “We really wanted to do something here in Asbury Park, and we believe that we’ve got a grip on what’s good for the city.”

With a handful of other professional stage concerns operating in nearby locales like Red Bank, Long Branch and Ocean Township — and with another fledgling troupe of pros (Boardwalk Theater) having announced plans to bring an original musical on the life of Rosa Parks to Asbury Park at some point in 2020 — the APTCo principals look to stake out a distinct streetcorner in which, as Whitefield says, “the idea is to do cutting-edge stuff…we’re not looking to do family theater.”

“We want to keep it edgy, keep it rock and roll, along the lines of what ReVision used to do,” says Angelini. “In addition, we’d want to do small cast plays; the sort of current things that other companies don’t touch.”

Having been formally founded mere weeks ago — and having just been accredited as a 501(c)(3) nonprofit organization — APTCo is hardly positioned to announce an inaugural slate of productions. But, ready or not, the company prepares to make its first big splash with Friday night’s event, a benefit concert (presented under the semi-Sondheimy title A Little Musical Night) that’s headlined by some familiar favorites from Algonquin seasons past.

Of course, most immediately familiar is the event’s host, Sally Struthers. The Emmy and Golden Globe winning actress who gained fame as Gloria on the groundbreaking sitcom All in the Family (and the character’s self-titled spinoff) previously worked with Whitefield and his Manasquan team on hit stagings of Always, Patsy Cline — and the event inside The Asbury’s ballroom space reunites her with her co-star in that two-woman show, Broadway veteran and frequent Algonquin guest artist Carter Calvert.

“When we found out that Sally was going to be in the area, and that we had the opportunity to snag her for the evening, we said that’s it; we’re going to jumpstart this thing,” Whitefield explains. “We’re getting ready to jump into the deep end.”     Continue reading

EASDALE AND CO. RETURN WITH LESS DRAMA, MORE ‘RAMA

John Easdale (second from left) leads the re-energized lineup of Jersey-bred modern rock favorites DRAMARAMA back to the Shore circuit on August 1st. (photo by Amy Martin Friedman)

Published in The Coaster (Asbury Park, NJ) and The Link (Long Branch, NJ), July 25, 2019

As John Easdale recalled it a few years back, “they showed up at my front door one day, when I’m not wearing a shirt…and they worked to make it happen.”

“They” were the folks from a new VH-1 TV series entitled Bands Reunited — and the thing they were looking to make happen, even as Easdale stood there looking more like something out of an episode of COPS — was the reunion, by popular demand, of a little project known as Dramarama.

“It was remarkably flattering that they would even think of us that way,” said the singer, songwriter and forever frontman of the bi-coastally based band that made its reputation in the “modern rock” glory days of The Green Parrot rock club and WHTG-FM — and which returns Shoreside once more next Thursday, August the First.

”It felt like I won some sort of prize; the Publishers Clearing House.”

As it turned out, the cable series spotlight was exactly the thing that the members of Dramarama needed to heal from an early 1990s break-up; to cement their standing as a favorite of fanbases on both the Atlantic and Pacific (plus, for whatever reason, a fairly fervent following in France) — and to enter the new century as an institution that materializes regularly, like some kind of alterna-rock Avengers, whenever and wherever the situation demands the band’s signature mix of supercharged powerpop and sardonic social commentary.

Born and bred on the mean streets of Wayne, NJ; relocated to Southern California (when legendary KROQ deejay Rodney Bingenheimer’s stamp of approval granted them godhood within the greater LA region), the five-man Dramarama returns to Asbury Park’s Wonder Bar with three charter members intact (Easdale, plus guitarists Mark Englert and Peter Wood), an all-new album in the pipeline (their first since 2005’s Everybody Dies) — and a hard-earned cred that’s seen them record and perform with former Rolling Stone Mick Taylor, Blondie drummer Clem Burke, and iconic session man Jim Keltner (they also count Ellen De Generes among their biggest fans, even appearing on her show as her “birthday present” several years back).

With doors opening at 7:30 pm, it’s a Very Special Episode in the club’s summertime-Thursday series of After Party events, keyed to the open-air Jams on the Sand concerts on the beachtop bandstand outside the nearby Anchor’s Bend bar. It’s also the first local appearance of 2019 for the perennial Shore faves, who were forced to cancel a scheduled January appearance when Easdale was diagnosed with melanoma just days before the band’s customary contribution to the annual Light of Day festival.

Speaking from his home in Whittier, CA (historic spawning/stomping grounds of Richard M. Nixon), the singer assures his public that the health scare “was just that, a scare…they took a chunk out of my arm, and now everything is fine.”

“In the months since then, I’ve realized that I didn’t need to react as much as I did,” Easdale insists. “I went and looked at WebMD, and read about how it’s the deadliest form of skin cancer, and how it killed Danny Federici…I was just isolating myself within my fear at the time.”

“ I feel bad about missing that show,” says the artist whose extracurricular solo projects have also taken him to such area stages as the Stone Pony, the old Donovan’s Reef in Sea Bright, and Joey Harrison’s Surf Club in Ortley Beach. “We’ve been doing Light of Day each year, along with another show in late summer, and we’re definitely gonna try and make it back next time out.” Continue reading

CFL’S SUMMER STAND IS A CABARET LICENSE TO THRILL

Felix Truex does it up GRAND, in a Wednesday night STAND that heralds the continuation of a beautiful relationship between Tim McLoone’s Supper Club, and the nonprofit Cabaret For Life. (photos courtesy Tara Feeley)

Published in The Coaster (Asbury Park, NJ) and The Link (Long Branch, NJ), July 11, 2019

While he acknowledges the fact that “Asbury Park has been coming back in the most amazing ways,” Andrew De Prisco emphasizes that for many of the city’s neediest inhabitants, the story remains much the same as it’s been for more than a quarter of a century. And when the need continues, The Show Must Go On — in the form of Cabaret For Life, Inc.

Established in the fall of 1995 by De Prisco, his artistic producing partner Fred Mayo, and John and Carole Hessel of Bradley Beach, the Ocean Grove-based nonprofit has kept the focus on “raising funds for service organizations that help people coping with life-threatening diseases, especially HIV/AIDS and cancer, through the production of musical theater.”

Any doubts as to the verifiable healing powers of a well-turned showtune should immediately take a back seat to the evidence of Cabaret For Life’s successful mission; particularly its track record of having raised hundreds of thousands of dollars for charities that range from such nationally known entities as the American Cancer Society and St. Jude Children’s Hospital, to Monmouth County-based nonprofits Ronald McDonald House of Long Branch, Mary’s Place by the Sea, K. Hovnanian Children’s Hospital, the Ashley Lauren Foundation, the VNA Health Center, and The Center in Asbury Park’s Center House facility.

Speaking during a rehearsal for the upcoming De Prisco-produced staging of Joseph and the Amazing Technicolor Dreamcoat at Ocean Township’s Axelrod Performing Arts Center — about which more in a moment — the org’s co-founder notes that The Center has been the principal beneficiary of his group’s endeavors from the start, with the Cabaret crew raising an average of $10,000 per year for the Rev. Robert “Father Bob” Kaeding and his volunteer service organization for those living with HIV/AIDS. It’s an affiliation that dates back even before the official inception of Cabaret For Life, when Andrew and company staged their upbeat entertainments at Father Bob’s former post, the Church of St. Anselm in Tinton Falls — and as the new century enters its third decade, Cabaret For Life remains steadfastly committed to a community leader who “does a great deal of outreach…the people who live at Center House have a real need of their services, and when it comes to Father Bob we love to lift him up; to give a voice to his work.”

Following a “pretty peripatetic” interlude in which the Cabaret troupe did their thing at venues that included The Old Mill in Spring Lake, McLoone’s Rum Runner in Sea Bright, and Jumping Brook Country Club in Neptune, De Prisco landed at what would become Cabaret For Life’s regular home stage, when the company presented its first summer season of shows at Tim McLoone’s Supper Club in 2009.

“McLoone’s helped us re-invent ourselves for our second chapter,” the producer says of the elegant upstairs space located within the space-age “doo wop” saucer that once housed the late George Panas’s stalwart Howard Johnson’s during some of Asbury Park’s most challenging times. “It seemed the ideal place to create real cabaret…and for the first time, we were able to do single-person shows.”

A summertime staple that’s now in its 11th Supper Club season, the 2019 Cabaret For Life slate got underway on June 27 with The Dolly Parton Songbook, a tribute set that dedicated a full 100 percent of proceeds to local charities. As De Prisco tells it, the show’s success “speaks to the unique way that we operate, where our annual membership people help us to cover all of the expenses involved with putting on a show…and help us in turn to give all to charity.”

The summer schedule resumes once more this coming Wednesday, July 17, when Cabaret For Life welcomes back a performing partner who’s been with them from the get-go — singer, musician, and all-around entertainer Felix Truex — for the first of two one-man extravaganzas entitled Ain’t It Grand! Drawing from his prodigious mental songbook of Broadway, jazz, pop and rock standards, Truex performs a 7 pm solo set for which admission (a $35 donation) can be reserved at timmcloonessupperclub.com.

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FIFTH ANNUAL PROMENADE’S A DAY TO MERM-EMBER

Jenn Mehmaid is front and center at last year’s Asbury Park Promenade of Mermaids, the family-fin event that returns to dry land this Saturday, June 29. (Photos by Mermaid Studio)

Published in The Coaster (Asbury Park, NJ) and The Link (Long Branch, NJ), June 27, 2019

As Jennifer Mehm tells it, she was living far from Atlantis — and thousands of miles from her native Jersey Shore — when she got the notion of bringing her lifelong love of “Mermanity” to finny fruition on the streets of her then-hometown of Sacramento.

“That first year was more like a flash mob than a formal event, because the town wouldn’t give us a permit,” she says of the California city’s Promenade of Mermaids for which she served as founder (or flounder?). “Then all of these people started showing up…and now here they are, in their ninth year, with a big annual happening!”

Upon returning to the Asbury Park area a few years later, the woman known from coast to coast as “Jenn Mehmaid” also returned to her original vision of a fun and family-friendly outdoor event; one that would fold her passion for those “beautiful and exotic” legendary denizens of the deep into a celebration of our seaside setting, in all its colorful diversity and inclusive spirit.

Thus was born the Asbury Park Promenade of Mermaids, an event that’s become a summertime staple since its first inquisitive incursion onto dry land in 2015 — as well as a worthy companion to the generations of grand Baby Parades, elegant Easter Parades, and world-record Zombie Walks that have made the herringboned hardwoods of the famous boardwalk the place to be for walkers, marchers, runners, strollers and rollers of all ages, shapes, sizes, and stages of decomposition.

When the Promenade assembles for its fifth annual edition this Saturday afternoon, June 29, it will boast its signature mix of marching mer-people (and pirates, and sea creatures, and shorebirds) with eclectic music, exotic dancers, unique handcrafted merch, and literal basket-loads of fabulous prizes, courtesy of some of the greater Asbury area’s favorite purveyors of goods and services. It will maintain the vibe with a series of post-Prom meet ‘n greets, special film screenings, and “happy hangover” pool parties — and it will also take things to the next sea-level, when it sets up its base of operations for the first time across from the Convention Hall complex, on the spacious expanse of Bradley Park. It’s there, under the quizzically stony gaze of Founder Bradley, that attendees will find the event’s Registration Tent, where prospective promenaders can sign up to walk the boards between the hours of 12 and 2 pm (while there’s no charge to participate in the march, a $10 registration fee qualifies entrants to compete for the prize packages in various adult, child, and group costume categories).

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STAR TRACKS & VOYAGERS: SCI-FI COMMANDS THE NJ REP STAGE

Daven Ralston and Joseph Carlson inhabit the recent past and the distant future in New Jersey Repertory Company’s production of VOYAGER ONE, the Jared Michael Delaney play that makes its world premiere this weekend in Long Branch. (Andrea Phox Photography)

Published in The Coaster (Asbury Park, NJ) and The Link (Long Branch, NJ), June 20, 2019

From the small smart-screens of the hand-held mobile device nation, to the grandest IMAX domes of the superhero mega-plex multiverse, the triumph of Sci-Fi over the popular culture is ultimate and undisputed. It’s a fever-dream scenario hammered home all the more by every news report of driverless cars, drone-based deliveries, apocalyptic forecasts, artisanally designed humans, realiTV presidents, and revised UFO protocols — although, strangely enough, there’s one cultural corner that remains largely untouched by its cold and probing light.

According to Jared Michael Delaney, “You don’t see science fiction on stage, hardly ever” — and while the actor-playwright allows that shows like the musical Be More Chill or the Pulitzer Prize finalist Marjorie Prime have incorporated elements like pill-sized supercomputers and android-based immortality into their studies of all-too human relationships, “whether it’s out of fear of special effects or whatever, a lot of producers shy away completely from considering it.”

“I’m a sci-fi fan myself…to me, it’s at its best when it’s tackling some real philosophical questions,” explains Delaney. With that in mind, the Philadelphia-based actor and playwright got busy employing one of the sci-fi genre’s specialty devices as a means to re-examine one of his signature themes — namely, the search for our tribal identity, whether it be through sports-team fandom, nation of origin, or membership in our curious but ever-endangered species.

Going up in previews tonight, June 20 — and opening officially on Saturday, June 22 — Voyager One represents the latest in an ever-expanding line of plays to make their world premiere on the downtown Broadway stage of New Jersey Repertory Company in Long Branch. And, while it’s the first of Delaney’s full-length scripts to be produced by the company, it stands as a home-away-from-homecoming of sorts for the performer who’s co-starred in several NJ Rep mainstage offerings, most recently alongside fellow Philly phenom (and frequent NJ Rep flyer) Ames Adamson in the 2018 two-hander The Calling.

Like Delaney’s local debut (in 2016’s Mad Love), The Calling was directed by one of NJ Rep’s most industrious and inspired creative partners, Evan Bergman — and it’s Bergman who returns to the NJ Rep director’s chair for the fourteenth (fifteenth? sixteenth?) time, with a drama that unfolds within two distinctly different points on the timeline — the not-so-distant past (where a team of researchers labors on the Voyager 1 space exploration project of the play’s title), and an imponderably distant future (where “a discovery upends everything that humanity has been led to believe”).

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JOHN CAFFERTY’S ENDLESS SUMMER NIGHTS

Published in The Coaster (Asbury Park, NJ) and The Link (Long Branch, NJ), June 13, 2019

We’ve said it before, but if there was such a thing as a Mount Rushmore of Honorary Shorecats (you know, those seasoned performers “whose wall-of-sound work ethic has allowed them to make themselves entirely at home among the stars and bars of the Jersey Shore, despite being rooted in other states/ other scenes”), then surely the chiseled features of John Cafferty can stake an undisputed claim there.

A frequent fixture on the Asbury Circuit since the days when music-biz types still spoke of Bruce Springsteen as a “cult” act, the Rhode Island-bred rocker was already a veteran of countless regional bar-band gigs when, as frontman of The Beaver Brown Band, he found a spiritual home-turf on the stages of the Stone Pony and the late lamented Fast Lane. As a true contemporary of The Boss — one whose rock-star cred was also rooted in the teen-dance band scene of the mid-1960s — the lanky guy from Narragansett soaked up all of the same sonic influences; investing the mileage and the man-hours in those rowdy roadhouses up and down the Northeast corridor, while ultimately arriving at a musical place that found the stuff of epic romance and heroism in the working-dude life.

Accompanied by such Beaver bandmates as guitar lieutenant Gary Gramolini and longtime signature saxman Michael “Tunes” Antunes, Cafferty forged a hard-earned reputation as a master showman of the shot-and-beer-joint milieu; competed to catch the ear of the old-school record industry, and — thanks in good part to a mythical music-maker named Eddie — tasted success on a big-time international level, with a pair of hits (“On the Dark Side,” “Tough All Over”) that topped the charts in the 1980s. While the guys could tell tales of having gone through the major-label wringer — an experience they share with felow Honorary Shorecats like Joe Grushecky, John Eddie, and Willie Nile — the band’s path since then has been a satisfyingly centered, back-to-the-basics dedication to that live-room natural habitat, as well an enhanced level of devotion to fervent fanbases in places like Asbury Park, where Cafferty and company return to the famous Stoney stage this Saturday night, June 15.

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