Lonesome Day/Into The Fire/Waitin' On A Sunny Day/Nothing Man/Countin' On A Miracle/Empty Sky/Worlds Apart/Let's Be Friends (Skin To Skin)/Further On Up The Road/The Fuse/Mary's Place/You're Missing/The Rising/Paradise/My City Of Ruins
"A brave and beautiful album of humanity, hurt and hope from the songwriter best qualified to speak to and for his country ... A towering achievement" - Uncut magazine
As a follower of Bruce Springsteen’s music since 1977, I have to admit that this is my second least favourite of his albums, behind 2009’s Working On A Dream, although, to be honest I play that one more than I play this one. You may find that odd, because many followers of his love it, and indeed, there are a fair amount for whom this was the album that sparked them to get into him and seek out his previous work. Me, I just don't really like much of it. Why? The poor, often digitally-programmed production for one and the fact that a lot of the songs just do not cut the mustard, for me. There is a lot of decidedly ordinary stuff on here, as far as I'm concerned. Of course this is just a personal opinion. We all have them.
It is widely perceived as an album written in response to the terrorist attacks of 11th September 2001. That is only true to a certain extent. Songs like the moving My City Of Ruins and the evocative Nothing Man would seem to fit that particular bill perfectly, but in fact they were written before that date. The former was written about Asbury Park, New Jersey, but the latter with its “blue sky” references would seem to be about that day, but not so.
There are two songs which perceptively try to see events from a Middle-Eastern point of view - the sombre Paradise, a rarity of a song in that Springsteen sings in the first person in the role of a suicide bomber. A brave take indeed. Incredibly so, all things considered. It shows just what a remarkable songwriter and artist Bruce Springsteen is. In many respects it can be considered the finest song on the album.
Then there are the “uplifting/hope for the future” songs. The upbeat country meets Celtic rock-ish opener Lonesome Day and the now iconic, tub thumper of a title track, The Rising, with its “come on up for the rising” refrain and biblical references in the lyrics. Both of these are rockingly enjoyable.
There are my two personal favourites - the only slice of E.St that is the Sam Cooke and gospel inspired Mary’s Place and the mysterious and surprisingly sexual The Fuse. "Your bitter-sweet taste on my tongue...". Yes, Bruce we've all been there! Both of these songs sit somewhat uncomfortably within the album’s context (maybe that is why they are my favourites?).
Then, unfortunately, there is the rubbish. Lets Be Friends (Skin To Skin) is, well, I don’t know really. A sort of cod soul song that just doesn’t really work, not for me anyway.
As I said in the introduction, this album just does not do it for me. Its probably me, not him. However, I have to say that I have always found the production on the album dull and lifeless and a bit tinny in places. Furthermore, why use a drum machine on occasions when you have the “Mighty” Max Weinberg at your disposal? This is just my opinion, though. Many people love the album. It is personally very important to them and I have no wish to not understand or acknowledge that. There are just many more Springsteen albums that I prefer.
Devils And Dust/All The Way Home/Reno/Long Time Comin'/Black Cowboys/Maria's Bed/Silver Palomino/Jesus Was An Only Son/Leah/The Hitter/All I'm Thinkin' About/Matamoros Banks
"Every decade or so, Bruce Springsteen releases a sombre album of narrative songs, character sketches, and folk tunes -- records that play not like rock & roll, but rather as a collection of short stories" - Stephen Thomas Erlewine - AllMusic
This was an intriguing album from Bruce Springsteen. After two successful and high quality “acoustic”/non band effectively solo albums in 1982’s Nebraska and 1995’s The Ghost Of Tom Joad, Springsteen was back with another one in 2006. This one had considerably more instrumentation on it, but it is still essentially a Bruce Springsteen solo album. It is notable for the fact that in his vocals on some of the tracks, Springsteen sings in a decidedly odd falsetto voice, something he had never done before, save a few whoops at the end of I’m On Fire. In my view it did not work at all - if anything, it sounds faintly ludicrous, especially considering just how strong his voice usually is.
I shall deal with the high voice songs first, to get them out of the way! All I’m Thinkin’ About is an upbeat, jaunty enough bluesy rocker, but I’m sorry, it just sounds totally ridiculous.
Ok. Let’s get a bit more positive. Devils And Dust is an atmospheric, slow and moving song with references to the Gulf War. It sounds as hot and dusty as its title suggests.
Matamoros Banks is a sad tale of migrants crossing from Mexico into the USA which harks back to the subject of much of The Ghost Of Tom Joad album. In 2019, a tragic picture of a father and ten year-old daughter lying dead, drowned on those very banks, was viewed by many.
Then there is Reno. Ok, it is full of atmosphere and cinematic images but on the other hand it is a tawdry song about a bloke going with a prostitute. For a strange reason, I find it a bit disconcerting to hear Springsteen singing about such demi-monde subjects as how much she will charge him to well, you can imagine. It doesn’t quite fit with him really. Like hearing your father or a respected teacher talking about such things!
This is, for me, an album that is good in parts, but it is not one I return to very often. Maybe I should a bit more, but, oh, that voice…
Old Dan Tucker/Jesse James/Mrs. McGrath/O Mary Don't You Weep/John Henry/Erie Canal/Jacob's Ladder/My Oklahoma Home/Eyes On The Prize/Shenandoah/Pay Me My Money Down/We Shall Overcome/Froggie Went A-Courtin'/Buffalo Gals/How Can I Keep From Singing/How Can A Poor Man Stand Such Times And Live/Bring 'Em Home/American Land
"Springsteen relies too much on a rural drawl and overblown sound when folk music requires subtlety and viewed the album as the worst case of his histrionic singing" - Robert Christgau
Old misery Christgau may have had a point. Now, it all depends upon whether this is to your taste or not. It is an album of depression era/dustbowl and earlier traditional folk songs made popular by folk singer/activist Pete Seeger in the 1940s and onwards. They are (largely) not done in a stark acoustic Nebraska style or like Bob Dylan's Good As I Been To You album, but with a tub-thumping, Irish-influenced large entourage holed up at Springsteen's ranch. The only link to the E. St Band is violinist Soozie Tyrell. Instruments used include the said violin, tuba, banjo, accordion. You get the idea. It is good-time, down a few drinks and singalong folk exemplified in songs like Old Dan Tucker, O Mary Don't You Weep, Jacob's Ladder and Pay Me My Money Down. It is a freewheeling, joyous, infectious romp and you know that everyone had a great time recording it. It is fun. Pure and simple. Where it falls down, for me, is that it lacks some hard-hitting "message" songs and emotional impact at times.
It is delivered by an enthusiastic, growling Springsteen putting on his best old pioneer on the plains accent, while rollicking banjo leads us on one great big "yee-haw" hoedown. It is all pretty addictive stuff and these is a case for saying it is the liveliest Springsteen album of all. Such a painstaking artist in the studio, yet such a spontaneous live performer, he applies the latter trait to the performance on the album. It is performed "live", you can hear him counting in the band and introducing the instruments and consequently, there is a stress-free looseness to the album that is most endearing.
Springsteen's own folk songs, though, such as on Nebraska and The Ghost Of Tom Joad are often masterpieces of melancholic, no hope narratives. You don't get much of that on here. At times it can all sound a tiny bit corny, however. For me, the best cut on the album is the beautifully mournful Shenandoah where the soulful, sadness of Springsteen's voice comes in to its own.
When Springsteen does go a bit folky Dylan, as on Mrs. McGrath is is very effective. Those are my favourite parts of the album, when Springsteen gets serious. I can't help but love Erie Canal (pictured below) too, in the same way. That has always been the way for me with Springsteen. However, that said, the full band, rousing instrumental ending to Jesse James is just extremely enjoyable, and exemplifies exactly why so many people love this album. Indeed, the instrumental soloing throughout the album is invigorating and a joy to listen to. Check out the Cajun bit on John Henry, followed by the banjo. Great stuff.
I have to admit to a huge weakness for the non-album bonus track, the Celtic fiddle and whistle romp of the narrative tale of immigration to the US of American Land.
I don't actually dig this album out very much, but whenever I do, I really enjoy it, so I guess therein lies its down-home, energetic, uplifting appeal.
Radio Nowhere/You'll Be Comin' Down/Livin' In The Future/Your Own Worst Enemy/Gypsy Biker/Girls In Their Summer Clothes/I'll Work For Your Love/Magic/Last To Die/Long Walk Home/Devil's Arcade/Terry's Song
"It is a high energy rock album with a heavy E. St Band sound" - Jon Landau
A strange album, this one. I rarely play it, yet the songs on it are potentially not so bad, they just never achieve what they could have done. This is largely due to the truly appalling, tinny, crashing sound employed by producer Brendan O’Brien. It renders the album virtually unlistenable. An example of this is on the album’s frantic, almost punky opener, Radio Nowhere - a good song spoiled by its bombastic production which almost drowns even a strong lead vocal like Springsteen’s. Many other songs are affected in the same way - Girls In Their Summer Clothes and I’ll Work For Your Love, in particular.
In terms of themes, the album is pretty morose, dealing with conflict, social problems and personal disillusion. Only the summery, romantic Girls In Their Summer Clothes and I’ll Work For Your Love raise the spirits slightly, but even these are narrated by a middle-aged Springsteen wistfully thinking back on the old days to a certain extent, from his position at the bar, while asking the barmaid for another shot.
The Last To Die, Gypsy Biker and Devil’s Arcade are covered in the dust of war and The Long Walk Home, Living In The Future, Magic and You’ll Be Comin’ Down all bemoan contemporary life in one way or another.
Apparently, there were several logistical problems in getting the E St Band all together at any given time to record the album, so most parts were recorded individually and “pasted” together, so to speak. Knowing that now, it shows. There is certainly something half-baked and maybe a little incomplete about the material on here. As I said earlier, as if it hasn’t reached its potential. A sad thing about this recording, too, is that Clarence Clemons’ now all too infrequent saxophone solos are becoming increasingly, sadly, irrelevant.
Outlaw Pete/My Lucky Day/Working On A Dream/The Queen Of The Supermarket/What Love Can Do/This Life/Good Eye/Tomorrow Never Knows/Life Itself/Kingdom Of Days/Surprise Surprise/The Last Carnival/The Wrestler
"I hope 'Working on a Dream' has caught the energy of the band fresh off the road from some of the most exciting shows we've ever done" - Bruce Springsteen
Hmmm, I'm not sure about that, Bruce. For me, it is pretty much the outstanding candidate for the dubious title of Bruce Springsteen’s worst album - an apparently hurried recording cobbled together during the 2008-2009 Magic tour. It would seem the tracks on here were rejects from the previous year’s far superior Magic album. It was seemingly intended to showcase Springsteen’s lighter, poppier side with a collection of Byrds/Searchers/60s pop influenced material. Over-produced, with a grating “modern” sound, it is all a bit of a stylistic mish-mash. Even the cover is positively dreadful. I hardly ever play this album, to be honest. Indeed, 2002’s The Rising, 2008’s Magic and this album all suffer from pretty poor sound, although this one is by far the better of the three in that regard.
Beginning unpromisingly with the almost unlistenable Western narrative Outlaw Pete, which is possibly up there with Bishop Danced from the early days of 1973 as Springsteen’s worst ever composition. The backing is admittedly quite impressive and some of the lyrics’ imagery is passable, but other parts of it are truly dreadful. A memory of this low point in Springsteen’s career is seeing middle aged men punching the air along to this at a concert, singing “I’m Outlaw Pete, - can you hear me!”. I know Springsteen inspires great loyalty from his fans, but come on guys. After eight minutes of this dross one is tempted to take the album off.
Things can only get better from here, but although they do, it is only very slightly.
Working On A Dream is incredibly lightweight, as is the pretty execrable Queen Of The Supermarket, which sees the sixty-year old Springsteen lusting, embarrassingly, over a young check out girl in his local convenience store. Dear me. I know many artists simply cannot regenerate the muse they employed in their twenties, artists mature, they lose that youthful fire, they try different things, but all these considerations taken into account, this is still quite unimpressive fare. It is not really a proper E St Band album either. Underpinned by drummer Max Weinberg, pianist Roy Bittan and bassist Garry Tallent, other members only appear as and where they are required. One good thing about the production of this album is that Tallent’s bass can actually be heard, as it struggles to do on The River. One of the title track’s few redeeming qualities is the bass line.
Good Eye is a rather unique effort to play the blues, which is ok on this album, considering what is around it, but unconvincing in the broader scheme of things.
The bleak narrative of The Wrestler is undoubtedly the album's best track, although it sits incongruously with the poppy nature of the rest of the album.
Now, this may well sound unacceptable to many, but I find Springsteen's tribute to recently-deceased organist and original E St. Band member Danny Federici in The Last Carnival somewhat underwhelming. All that "handsome Billy" stuff is a bit odd and just doesn't do it for me. Then again, it is Springsteen's heartfelt tribute to his old friend so any criticisms from me are pretty irrelevant.
We Take Care Of Our Own/Easy Money/Shackled And Drawn/Jack Of All Trades/Death To My Hometown/Wrecking Ball/This Depression/You've Got It/Rocky Ground/Land Of Hope And Dreams/We Are Alive/Swallowed Up (In The Belly Of The Whale)/American Land
"Very rock 'n' roll ... with unexpected textures—loops, electronic percussion[, and] an amazing sweep of influences and rhythms, from hip-hop to Irish folk rhythms" - The Hollywood Reporter
Another somewhat perplexing album, after some patchy output in the first decade of the new millennium, Bruce Springsteen was back, this time railing at big finance, bankers and corporate business. Many would say this was somewhat hypocritical from a multi-millionaire, but Springsteen’s heart has always been in the right place. His targets were/are definitely deserving of it.This is not an E Street Band album, some of the members, like Garry Tallent and Nils Lofgren do not appear at all. Others appear randomly on just a few tracks. Springsteen employs a large brass section, and the album is a sort of bridging point between the folky brass oompah of The Seeger Sessions and the guitar-driven rock of the last three albums. There are other styles in there too, lots of Irish rebel folk instrumental breaks, some gospel inflections and even some rap (which appalled some fans!).
For me, this is an album which starts really well, but tails off quite markedly. We Take Care Of Our Own is a pounding diatribe against a country who clearly does not always take care of its own, as in the case of Hurricane Katrina.
While Wrecking Ball is another fist pumper, just before that song we had the tedious This Depression which saw the standard decline and this was continued by the thoroughly unremarkable and tedious You’ve Got It.
Rocky Ground features the rap and is actually quite appealing, as is one of the album’s best songs, the moving We Are Alive which sees ghosts of pioneers and past social conflicts rising up to tell their stories against a rousing Ring Of Fire backing. Either side of that, though, is the studio version of the live barnstormer Land Of Hope And Dreams which is extremely disappointing and nowhere near as inspirational as the version that appeared on Live At New York City.
There is some good material on here, but there are also some treading water moments which render this an album that feels a little incomplete.
High Hopes/Harry's Place/American Skin (41 Shots)/Just Like Fire Would/Down In The Hole/Heaven's Wall/Frankie Fell In Love/This Is Your Sword/Hunter Of Invisible Game/The Ghost Of Tom Joad/The Wall/Dream Baby Dream
"The thing with Bruce is that he accepts his inspiration without question, he doesn't analyze it. But when it comes time to analyze, that's when he turns the screws on everything. Then he'll go back and forth with sequences for months and months until he gets it exactly where he wants it. I don't see that in any other artist that I work with. It's usually like, 'What's a good sequence?' And then, 'Oh, the hit sounds good first. Then the bad songs should go at the end.' That's not how Bruce does it. He has a story to tell. We recorded a lot and at first it was a much longer record. Bruce did the same thing with 'Wrecking Ball'. I have the piece of paper with all 15 or whatever songs on it, and he draws a line through the last four and goes, 'This is it. Let's take these four off.' It was like a knife in my heart. I was like, 'Those are my favourites!' At the end of the day, though, he's always right. It's got to work as a piece. This was a much bigger experiment because it was so different. There was a little more back and forth with it" - Ron Aniello
Rather like The Rolling Stones' Tattoo You, this was - as opposed to being a brand new album of new studio tracks - made up from songs from sessions for previous albums and re-makes of older songs. There were a few newer ones in there too, but it wasn't a "brand new" album, as such. That said, it is ok, and superior in some ways to Wrecking Ball and definitely better than the patchy Working On A Dream.
The opener, High Hopes, written by a guy called Tim McConnell and not Springsteen, dates from 1995 originally. Here it is delivered in a shuffling, brassy rocking fashion and has a convincing, lively vocal and some excellent guitar.
Harry's Place dates from 2001 and The Rising sessions. For many, it is their least favourite on the album. Not me, it is the opposite. I love it. It is full of buzzy guitar, a smoky, sleazy, menacing atmosphere and another excellent vocal from Springsteen. It is better than most of the stuff on The Rising, for me, anyway. Springsteen singing "fuck" several times is a bit odd, however, like hearing your father or a teacher cursing.
Just Like Fire Would is a cover of a song by Australian punk(ish) band The Saints, dating from 1986 (The Saints version). Springsteen had been singing it in concert in Australia and decided to record it. It actually sounds like a Springsteen song from the 1980-1984 period. It is a good one and a concert favourite. It sounds tailor-made for The E St. Band.
Frankie Fell In Love is another very E. St barroom rocker, that wouldn't have been out of place on Born In The USA. I am not sure from when it dates. Whatever, it sounds very "retro".
The Ghost Of Tom Joad is best known as the quiet, gently acoustic title track of Springsteen's 1995 album. Here, as a result of this version's success in live shows, it is played as a huge, thumping, muscular rock number, enhanced by the incredibly good guitar work at he end from Tom Morello. It is some of the best guitar you will ever hear. Stunning.
Dream Baby Dream is a cover of a song by a band called Suicide, who I admit I know nothing of. It was recorded by them in 1979. It is lyrically not up to much, repeating the title again and again and "keep the light burning". It has a certain fugue-like sad quality to it though.
I have to admit that I like this album more than the last batch of Springsteen's offerings, indeed, it is my favourite after The Ghost Of Tom Joad on reflection. A great thing in its favour is that it has by far the best sound on a Springsteen album since the early nineties. Albums like Magic were blighted by poor sound, so while I probably like that album's songs more, I prefer this one because of its more accessible sound. All that said. I listened to this a lot when it first came out. Nearly five years later, this is the first time I have returned to it.
Growin' Up/My Hometown/My Father's House/The Wish/Thunder Road/The Promised Land/Born In The USA/Tenth Avenue Freeze-Out/Tougher Than The Rest/Brilliant Disguise/Long Time Comin'/The Ghost Of Tom Joad/The Rising/Dancing In The Dark/Land of Hope And Dreams/Born To Run
This a is a strange product to review. Taken from Springsteen's four month solo residency at a Broadway theatre which saw him, a guitar, a piano and a nostalgic ageing man's hatful of evocative memories deliver a physical autobiography. I am sure it was an interesting and captivating performance (although not a concept I would particularly have had any interest in attending, preferring a full on band to solo acoustic shows), however, it does not really transfer well to CD, download or vinyl. Half of the time is taken up with Springsteen's extensive monologue introductions to each song. These are often several minutes in length. Even the songs often have a spoken narrative section half way through before he returns to the song. The show was eventually extended and lasted nearly fourteen months.
For me, I just simply have no desire to listen to Springsteen's monologues again and again, however interesting they may be first off, which they often are, as he is an inveterate storyteller. People such as myself who have been aficionados of his music and live performances for several decades now (I date back to 1978) are more than familiar with his upbringing by now - his father, his mother and all that stuff about searching for dreams and travelling down those roads and so on. We have heard the stories many times before, accompanied by Springsteen's nervous little laugh, so it is nothing new. Neither are the narratives on this performance followed by the E. St Band launching magnificently back into a song, such as on Live 1975-1985's Growin' Up, here they just carry on in to more low-key, acoustic performances. Yes, sometimes the acoustic rendition provides something special, such as on Born In The USA, with its sublime bottleneck guitar, but you can't convince me that The Promised Land is better, acoustically. The thought of him doing this show, night after night, for fourteen months is an exhausting one - rehearsed as it is, with no "curveballs" thrown in, as in a regular live set.
All that said, the section about his mother and the accompanying song The Wish had a serious lump in my throat. It is genuinely moving. Tenth Avenue Freeze Out has the same effect too. Furthermore, Springsteen's piano playing has improved considerably, it has to be said. On Freeze-Out it is almost "Professor"-like.
You know, I feel it would have been good for Springsteen to have put some of these great narrations to music, rather like Van Morrison did in On Hyndford Street, where he narrates memories from his youth over a subtle backing. I'm thinking in particular of the "smell of coffee grounds" section of the intro to My Hometown, about Freehold, New Jersey. Or made some of the memories into songs.
So, taking all my feelings into account, it just doesn't really do it for me, neither do I feel it really works well as a live recording. It is not something I would wish to revisit once heard. Just as I wouldn't read an autobiography again and again. That doesn't mean I haven't enjoyed it the once.
Hitch Hikin’/The Wayfarer/Tuscon Train/Western Train/Sleepy Joe’s Café/Drive Fast (The Stuntman)/Chasin’ Wild Horses/Sundown/Somewhere North Of Nashville/Stones/There Goes My Miracle/Hello Sunshine/Moonlight Motel
"It is a return to my solo recordings featuring character-driven songs and sweeping, cinematic orchestral arrangements, a range of American themes, of highways and desert spaces, of isolation and community and the permanence of home and hope" - Bruce Springsteen
I have a strange relationship with Bruce Springsteen these days. From those heady days of hero-worship of 1977 to 1984 we’ve both come a long hard way down that little dirt track that has a sign out front sayin’ “Thunder Road”. I guess the bad seeds got sown, Sir, when the Born In The USA album came out and he was no longer a comparative “cult” artist that only a relatively small percentage of people in the mainstream really knew about. That album suddenly sat alongside Thriller, Brothers in Arms and the latest Phil Collins offering on the same people’s sparse record shelves. Maybe it all started to drift away a little then, down through those dead ends and two-bit bars. Not that anyone would have known, however, as I carried on seeing him live, following that dream to places as diverse as Detroit, Rotterdam and Paris. I have always stuck with him out of pure nostalgia but before I bore you all to death the point I am ponderously getting to, in classic Springsteen rambling narrative style, is that while I still habitually get everything he releases, I listen to his music only about once a year.
While old mates Steven Van Zandt and (even now and then) Southside Johnny are still keeping that mid-seventies Spectoresque, horn-driven Asbury Park flame burning on their latest albums (particularly the former, check out Summer Of Sorcery), Springsteen left the girls and the boardwalk behind a long time ago, save for the odd throwback like Girls In Their Summer Clothes in 2008. The Boss’s thing now is stripped back, bleak (ish) cowboy/old West-themed numbers, still rocking at times, but very dominated by sweeping, heavy, sonorous keyboard backing, without a horn, Bittan-esque tinkling piano or Clemons-style bullhorn saxophone within a hundred miles of earshot. It sounds like Springsteen with The Royal Philharmonic Orchestra. At times it can be overwhelming, but at other times it can be uplifting and provides a dramatic backdrop for his cinematic lyrics.
The man still has his innate ear for a tune and a killer turn of phrase, however, he will never lose that. He has that certain very special something that he always did that makes one sit up and listen. For that reason I find myself returning, despite my considerable misgivings about the album. To be fair to him he is making a concerted effort to produce a considerably different album, rather than doing the same old stuff. He needs credit for that, for sure. This review is four times the size of the one for Born In The USA, for example, so there is some thought-provoking material on it. The album, from what I have read so far, is already being hailed as a work of genius by professional music journalists. I know where they are coming from and it would be easy to say the same thing, but those strings and that high voice......
Anyway, on with the show, this is what we now get in the land of hope and dreams as we still hide on the backstreets…
Lyrically and thematically, Springsteen is channelling his inner Bernie Taupin and heading out to Tuscon trying to break in them wild Palominoes. One look at what is one of his best ever covers makes that pretty clear. The rear cover sees him in front of car in a cowboy hat and is less evocative, more obvious.
The album starts on a low-key note with the sombre, reflective Hitch Hikin' which features a somewhat old-sounding, croaking vocal from Springsteen. The backing is stately - acoustic guitar and those strings. Get used to them, they're all over this album. Lyrics about "passing telegraph poles out on the road" set a familiar Springsteen theme.
Tucson Train has a solid rock beat and a convincing vocal but it is a bit overwhelmed by some Western movie-style orchestration in its backing. They are quite captivating, however, and I find this one is a bit of a grower. There is also a bit of piano hidden away in there. I’m quite enjoying this. Good track. I've heard it lots by now as it was available a few weeks ago. Some "proper" drums feature on it and it has an atmosphere.
I really like the Tex-Mex-ish Mavericks-style romp of Sleepy Joe's Café, with its decidedly Danny Federici fairground organ sound. Yes, it is the cheesiest number on the album, but I find it irresistible.
Somewhere North Of Nashville is a slow, acoustic number that doesn't actually make two minutes in length.
Hello Sunshine has an infectious, shuffling rhythm such as was used on much of the material on disc four of the Tracks box set. It is a bleak song, though, with a bit of country guitar and a plaintive, sad, mournful vocal from Springsteen. Once again, it has a hook to it, as I said earlier, Springsteen never loses that, but I still have to question whether I really like it, or I think “oh it’s Bruce, I have to like it”. On reflection, I do like it anyway, so that’s another positive. The question I am left with, though, is "if this wasn't Bruce Springsteen, would I like it?".
Moonlight Motel is a sad narrative to end this challenging album on. There are parts of the album that are not quite to my taste, and I am not sure whether I will play it endlessly, but I certainly accept that it is a beautifully-created, mature and thoughtful piece of work. It is, for me, by far the superior piece of work to Born In The USA, so there you are. I guess what matters is Springsteen's music is now something that makes one think and go back and listen to again. He really is a remarkable artist in that respect.
The songs are played pretty straight and authentic to their originals, therefore making it an unessential recording. For me, though, there is a nice bass punch to the live performances, more so than on the original studio versions. Springsteen's vocal performance is faultless and emotive from beginning to end. The orchestration is more subtle and the bass more pronounced in places, so it suits me. There are a few slight differences - a few more backing vocals here and there and more pronounced, such as on The Wayfarer, a little less strings, a bit more bass, a few little fetching new instrumental bits, but nothing incredibly discernible. For that reason it is an interesting listen but certainly not one of which I think "I have to own that..". I enjoyed it, however.
A bonus is Springsteen's version of Glen Campbell's Rhinestone Cowboy. Springsteen tackles it enthusiastically and the orchestration is dramatic and sweeping, as you would expect, but vocally, Glen Campbell did a much better job.
For such a legendary band, Bruce Springsteen and The E St. Band (in full attendance) have put out surprisingly few albums and they have often (especially in latter years) been blighted by poor production. Here, thankfully, that is not the case as seventy-something Springsteen joyously leads his seventy-something mates down a little dirt track that has a sign out front sayin’ thunder road to resurrect some ghosts from the past.
This is not a seaside bar/mean streets Born To Run Bruce album, though, nor a bleak Darkness On The Edge of Town. Its spirit is to be found back in the wordy glory of 1973 (due to the presence of three made-over previously rejected songs), in 1979-80’s The River sessions and in 2008’s Magic.
It is an album respectfully lodged in the past and I love it for that - no dabbling in tape loops, ‘beats’ or rap vocal sections, just music that harks back to a more innocent time. Nobody is better qualified to deliver this sort of thing than a great nostalgist like Springsteen.
As with all Springsteen albums, however, you just know that the songs will take on a new life when performed live.
Anyway, shall we get to the songs?
One Minute You’re Here starts in sleepy, croaky, folky and maudlin Springsteen style. It sounds like one of the tracks from CD4 of the Tracks compilation. While it is an atmospheric enough song, there is no E St. Band sound to be found much here until very subtly near the end Roy Bittan’s keyboards arrive, gently. It is certainly a low key, underwhelming opener. I always feel albums should kick off with a corker. This one sits a bit incongruously with many of the tracks that follow it. A bit like I Ain’t Got You on Tunnel Of Love.
Letter To You is more like it as it comes storming in like a Roulette-style reject from The River’s 1980 sessions. It is great to hear Max Weinberg’s rat-a-tat drums and Charlie Giordano evoking the spirit of Danny Federici on organ. There is a bit of a feel of the material from the Magic era too, although, notably, the production is much better. While not a particularly outstanding song, there is a bit near the end where Max kicks back in on the drums that makes me remember that I am listening to the E St. Band.
Burnin’ Train is a drum rolling, urgent rocker that burns pretty brightly. Check out Springsteen’s guitar solo, the piano and those energetic drums half way through. The band are back in town on this one, for sure.
Janey Needs A Shooter, as all more than part time Springsteen enthusiasts will know, is a track from way, way back in the early seventies. It is presented here in slow and dignified fashion that evokes the period from between Born To Run and Darkness On The Edge Of Town. It takes me back to the time I got into him myself and while the song is a dense, dark one it just has that sound that made me fall in love with the man’s music. Listening to it now, though, I can still hear why it was rejected by Bruce in the first place. It doesn’t quite have that je ne sais quoi to it that would have earned it a place on Darkness, for example.
Last Man Standing starts with acoustic strumming before the full band kicks in and it brings back memories of The River sessions and again, the Magic album. Jake Clemons contributes his first saxophone solo, resurrecting his legendary Uncle Clarence’s bullhorn blowing. This is a proper E. St Band track. The title refers to the fact that Springsteen is the only member of his first band, The Castiles, to still be alive.
The same applies to the dignified chunky rock of The Power Of Prayer, which also has a lot of the sound of 2008 about it. It features another sax solo and some pounding piano too. Springsteen visits a familiar theme of regular barroom characters and Jake’s saxophone takes us higher, gloriously, particularly at the end. Ben E. King gets a namecheck in the lyrics too.
These last two tracks, together with House Of A Thousand Guitars, sort of form the album’s E St. cornerstones, as Weinberg’s drums and Bittan’s piano dominate a song that is part ordinary, part hymnal. The repeated chorus is slightly clumsy, though, especially at the end.
Rainmaker is a powerful, muscular slow-pace rock number that I suspect is obliquely referencing some of the obvious frustrations its singer is feeling with his country’s contemporary, depressing situation (in mid-late 2020).
Now, it is time for the righteous to get on that train, leaving behind the Born In the USA/Greatest Hits hangers-on, as we who have got our long-service tickets head skywards to E St. nirvana. Our faith has been rewarded for sticking it out through Waitin' On A Sunny Day, Outlaw Pete and Queen Of The Supermarket.
The gargantuan, epic E St. beast of If I Was The Priest is another long-lost outtake from the early seventies given an update. It gets my gnarled old E St. juices flowing and stands as the best track on the album for me. It was apparently the song that earned The Boss his first contract with Colombia records back in 1973. Why it was not included in his first album is beyond me. It is full of religious and Dylanesque/Wild West imagery (plus obligatory harmonica) and my beloved E St. Band cut loose throughout its glorious six minutes plus. It should have closed the album.
The Mighty Max reminds us why so many love him as he powers the intro to the riffy E Streetery of Ghosts. Again, the band all give it their absolute all, as they always did - like Tom Petty & The Heartbreakers - the honest side of rock. Check out the denouement to the song - E St. Heaven. When you hear it you will know exactly what I mean. I am laid low at the moment with bad arthritis in one of my once talented feet and I swear this is curing me. One dose of E St. every four hours.
You want some more good medicine? Coming right up with the Blonde On Blonde travels to New Jersey feel of Song For Orphans, which is the last of the three resurrected seventies songs. Let your harmonica and guitar take me higher, Bruce. Tracks like this are the very quintessence of Bruce and his wonderful band. My goodness, I love this. So it is packed to overflowing with verbose "new Dylan-isms" but mister - I don't give a damn.
Thinking about it, these three have been even more of an important grouping within the album’s genesis. They form the point when you think ‘this has been getting better and better’. This is what I wanted.
The album ends with another bit of Springsteen strumming-driven rock on the typically-titled I’ll See You In My Dreams. It pales slightly simply because of the sheer immensity of the previous three but it is a fine sign-off.
Nice to have you all back, lads and lasses. We’ve missed you. With a decent production for once, too.