# Reviewing Bruce Springsteen



## Deleted member 56686 (Nov 17, 2019)

Well, I’ve done the Beatles and I’ve done the Rolling Stones so who else could I do? I thought about David Bowie and the Who and I began to realize, when in Poughkeepsie am I going to do an American Artist?

So why not review none other than the Boss himself?  Bruce Springsteen is perhaps the best known artist in the field of what is known as Americana. His legend is certainly secure even if he isn’t quite as commercially  successful as eighties contemporaries like Michael Jackson and Madonna. In terms of critical acclaim though, he is considered one of the greatest artists in the history of Rock n Roll.

This is going to be a bit of a challenge for me as, unlike The Beatles and Rolling Stones, I do not rate Bruce Springsteen among my favorite artists. That doesn’t mean I don’t like him, of course, because I do, but I don’t have the same firsthand knowledge or even know where to look for the relevant information (though I promise I certainly will find it).

Also, I’ll be concentrating on his nineteen studio albums for the most part and only mention items otherwise that are especially important to Springsteen’s output such as Live 1975-1985 and the Streets of Philadelphia single.

So get excited because the Boss is coming soon. 


PS- Much of the information and lyrics will come from this site: http://www.brucespringsteen.it/

Other information about the songs can be found here: https://genius.com/


Albums and Ratings:

GREETINGS FROM ASBURY PARK, NJ  1/2
THE WILD THE INNOCENT AND THE E STREET SHUFFLE 
BORN TO RUN :flower::flower::flower::flower::flower:
DARKNESS ON THE EDGE OF TOWN 
THE RIVER 
NEBRASKA :flower::flower::flower::flower::flower:
BORN IN THE USA  1/2
BRUCE SPRINGSTEEN AND THE E-STREET BAND LIVE 1975-1985  1/2
TUNNEL OF LOVE  1/2
HUMAN TOUCH  :neutral::neutral:
LUCKY TOWN  1/2
THE GHOST OF TOM JOAD  1/2
THE RISING
















DEVILS & DUST 
WE SHALL OVERCOME: THE PETE SEEGER SESSIONS 
MAGIC  1/2
WORKING ON A DREAM 
WRECKING BALL 
HIGH HOPES 
WESTERN STARS  1/2


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## escorial (Nov 17, 2019)

what about neil young.....if he's the boss what would he be ceo


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## Deleted member 56686 (Nov 17, 2019)

Neil Young fans might think so.


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## Irwin (Nov 17, 2019)

Bruce Springsteen sucks so bad, even he's depressed!  

Just kidding. He has written a few good songs, although he sang about fuelie heads on his 396 when that would be impossible since fuelie heads were made for small block Chevy's. You'd think somebody would have told him!

I actually don't know much about him, so we'll see. Sometimes an appreciation of someone can be developed when you know their story, if that story is intriguing. He always tries to milk his songs for all they're worth when he plays live, which is annoying--not that I've ever seen him live other than in videos, where I had the ability to shut him off before I puked. Live, in person, I'm guessing that there is a lot of puking going on in the audience.    Then again, from what I hear, his audience consists of overweight, middle aged women and gay men--not that there's anything wrong with that. I'm just saying.


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## Trollheart (Nov 17, 2019)

Now you're speaking my language! Any info or collab you need on Mama Springsteen's little boy, just shout. One of my favourite artists. Huh!

[video=youtube;Eax5EfFbZGw]https://www.youtube.com/watch?v=Eax5EfFbZGw[/video]


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## Deleted member 56686 (Nov 17, 2019)

Cool. I might need some info on some albums. I can get the lyrics but I can't find out what he meant by them. Also any history that's relevant to any given album (The Rising and 9/11 for example) I'm all ears, er eyes. :icon_cheesygrin:


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## Trollheart (Nov 17, 2019)

Yep. I'm your guy. I'm not so familiar with the albums he released post-The Rising, but I know enough about them to get by. The rest, hell, I'm an encyclopedia! :lol:


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## Deleted member 56686 (Nov 21, 2019)

I know, I know, you're saying when is Musty going to post something on Springsteen? Well, the wait is almost over. The first chapter on Springsteen goes up tomorrow so get your air guitars out. We're going to have a rockin time.


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## Deleted member 56686 (Nov 22, 2019)

*IN THE BEGINNING 1965-1972*








Note: much of my information will be derived from this site: http://www.brucespringsteen.it/

And for the purposes of this post: http://www.castiles.net/bands.html






Bruce Springsteen was born in 1949 in Long Branch, New Jersey. His father worked as a bus driver out of Freehold where Bruce grew up while his mother worked as a legal secretary. Springsteen’s interest in music started when he first saw Elvis Presley on Ed Sullivan and  the interest would intensify with the arrival of Beatlemania in 1964. He bought his first guitar for $18.95 and joined his first band, the Rogues, shortly thereafter. From there he would be involved with several bands, first simply as a member, and then as the leader. And with that, we start with the beginnings of what would make Bruce Springsteen the Boss.






[h=2]The Castiles[/h] 
The Castiles started out as the Sierras and was led by George Theiss. Springsteen wasn’t an original member, not having joined until 1965 at the age of fifteen.  He would share lead vocals with Theiss throughout his two and a half year run with the band.

As with most high school groups of the period, this was a band that was heavily influenced by the Beatles. There really wasn’t much special to note about these young men.  They paid for a recording session in May 1966 and Baby I is the earliest record where you can hear Springsteen on vinyl though Theiss is the lead singer on this track.

In 1967, the Castiles’ drummer had to leave to band as he had been drafted . He would be killed in Vietnam later that year.  Springsteen too was drafted, but he was able to feign mental instability and was listed as 4F. There was a sense he felt guilt (survivor’s guilt perhaps?) by getting out of the draft the way he did and would compensate by supporting veterans of wars during the bulk of his career while never losing his own personal liberal convictions.

Springsteen left the Castiles in 1968 to join a new band, a band much different than the pop oriented Castiles were.

[h=2]Earth[/h] 






Springsteen was attending Ocean County college in 1968 when he met John Graham and Michael Burke. The three of them formed a heavy blues rock trio in the style of Cream and called themselves Earth.  They debuted at a local coffee house that August and Springsteen would develop a local reputation as the Fastest Guitar in Asbury Park. There are no recordings of Earth either in the studio or in live performance, but they are said to have been essentially a cover band, playing songs from Cream, Jimi Hendrix, and Traffic among others.  According to Ultimate Classic Rock , Earth played in an unreleased soft core porn film shot at the Fillmore East.

Earth would last for only six months when Springsteen was recruited by a drummer named  Vini “Mad Dog” Lopez. Springsteen joined the band Child in February 1969.


[h=2]Child/Steel Mill[/h]
	

	
	
		
		

		
		
	


	





Vini Lopez formed Child with Springsteen,  Danny Federici, and Vini Roslin in February 1969. They changed their name to Steel Mill late that year as there was a progressive band called Child that had come out by then. Like Earth, Steel Mill was a hard rock outfit. Springsteen would be the front man at vocals and guitar and it is perhaps here where his light began to outshine the others a bit.  Frederici and Lopez would, in fact, follow Springsteen to the formation of the E Street band, thus the beginnings of what will become the Springsteen legend can be traced here.

Another major figure in Springsteen’s career, perhaps the most major figure, joined the band after bass player Vini Roslin was fired. They had known Steve Van Zandt for a time by this point and it’s safe to say he fit right in. For a while it seemed he was Springsteen’s right hand man for years and has certainly made a name for himself in his own right but I’m sure that will come up later.

Steel Mill proved to be a fairly successful live band on the club circuit and also found a following in California where they even were offered a recording contract by none other than Bill Graham. They surprisingly turned it down. Steel Mill added a lead vocalist in the summer of 1970 and they continued to play the Jersey scene mostly before Springsteen left to form his own band.




[h=2]Dr. Zoom and the Sonic Boom/The Bruce Springsteen Band[/h]





And that band became Dr. Zoom and the Sonic Boom which lasted for exactly two shows.  This was a large band that would quickly evolve into the Bruce Springsteen Band.  Lopez and Van Zandt followed Springsteen into this band and new familiar names such as David Sancious and Gary Tallent would join. By now, the core of what would become the E Street band was in place.  Basically this was a jam band that wouldn’t last for long in this incarnation. So Springsteen and company would make one more adjustment and then there would be…

[h=2]The E-Street Band[/h]





The E Street band was unnamed when they first started performing in late 1972, ostensibly to record Springsteen’s first album. John Hammond had signed Springsteen to Columbia Records and he had to get a band together. So the usual characters joined him along with a new and now very familiar face in saxophonist Clarence Clemons. The pieces were now together and all they needed now was a new name. That wouldn’t come until 1974. The name came from the street where they would practice at David Sancious’  mother’s house in Belmar, New Jersey. The original lineup included Tallent, Sancious, Clemons, and Lopez and they were now Springsteen’s backup band, and very happily so.  One person who was missing at this early stage was Steven Van Zandt who was touring with the band he helped found, Southside Johnny and the Asbury Jukes. He would join for good in 1975, just in time for Springsteen’s breakthrough album.

But first we have a couple of albums that, while they would garner positive reviews, eluded the commercial success they no doubt deserved. And yet we have some truly classic tracks on these albums. Anyway, stay tuned until next time when we dissect the debut album of Bruce Springsteen and the still unnamed E-Street band.


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## Deleted member 56686 (Nov 30, 2019)

*GREETINGS FROM ASBURY PARK, NJ*








*Released*: 1973
*Producer*:  Mike Appel and Jim Cretecos
*Label*: Columbia

John Hammond signed Bruce Springsteen to Columbia records in the summer of 1972.  In order to save money, this debut album was recorded at the out of the way 914 Sound Studios in Blauvelt, New York. It had been a gas station apparently.  There were originally five tracks with the backup band and four tracks that were just Springsteen, but Columbia said the album lacked a hit single. Thus, Springsteen wrote two songs that he would record with Lopez and Clarence Clemons on sax. Neither song would chart for Springsteen but they would prove quite successful for Manfred Mann’s Earth Band three years later.

The album opened to positive reviews and Springsteen was already being touted as something of a fresh new face. One critic even this early on would compare him to Dylan. So the album wasn’t especially successful at the time, but, of course, with Springsteen’s fame still ahead of him, this album has fared quite well and has stood the test of time.



*Best Tracks*: Mary Queen of Arkansas,  Spirit in the Night

*Weakest Tracks*: The Angel







*Blinded By the Light*: I think on this, the first track, you can sense there was something of a nonsensical poet within Springsteen.  It seems nonsensical at points lyrics wise and I’m sure that’s where the Dylan comparisons begin. I never really got into this song; I actually prefer the Manfred Mann version better. This song is the only Springsteen penned record to ever hit number one on Billboard- by Manfred Mann.

*Growin Up*: Another interesting set of lyrics, but this one seems to have a theme.  This is obviously a song about youth. There are parts such as in  Sanctious’ piano that reminds you of the Springsteen sound that would become evident on Born To Run.  I like this one better than Blinded.

*Mary Queen of Arkansas*: This is a hauntingly acoustic song. This is basically Springsteen on acoustic guitar and harmonica. There is a thought that this song may be about a drag queen but that’s only what I got from Wiki. I will say, this is my favorite song on the album so far. I always like Bruce best when he plays it simple and stark.

*Does This Bus Stop at 82[SUP]nd[/SUP] Street*?: This is basically in the typical early Springsteen style with the piano and acoustic guitar prominent.  Another set of interesting lyrics. One thing for sure; Springsteen isn’t going to be your typical I Love you in June type of lyricist.

*Lost in the Flood*:  This may be the first song Springsteen wrote about a Vietnam War veteran. Springsteen may have already felt guilty for skipping the draft and perhaps was trying to compensate for it here by describing what it must have been like for the Jimmy the Saint character.

*The Angel*: This is Springsteen’s ode to a motorcycle outlaw according to Wiki.  This is a slow paced track. Again dominated by piano. It seems to lack some of the passion of the other tracks comparatively, but that’s only by this album’s standards really.

*For You*: This too was covered by Manfred Mann on the Roaring Silence. Greg Kihn would cover this as well.  Wiki says this is about a woman who has attempted suicide. I have to say he does know how to weave a story. Something that would be a theme for his entire career.






*Spirit in the Night*: This is perhaps the first of Springsteen’s many classics. This was the other song that Manfred Mann recorded but this time, the original is the superior version.  In fact I would say this is my favorite song on the album, perhaps ever. Maybe because this song was written and recorded with such haste, that there is a certain energy that is rarely matched by anyone. Clemons is especially impressive on the sax as Springsteen sings about a fun encounter with some friends like Hazy Dazy and Janey and the like. Again this may be my favorite Springsteen song ever.

*It’s Hard To Be a Saint in the City*: This is the song that first got Mike Appel’s attention. He quit his job as a record producer to manage Springsteen because of this song. It weaves a tale of someone trying to go straight but who also find it difficult in the city. You have to think if Springsteen didn’t make it as a musician, he may very have found success as a poet/lyricist.  The usual E-street elements circa 1973 are here and the album ends on a very strong note.


*OVERALL EFFECT*: I’d love to tell you this album is absolutely perfect. Well, it’s not, but it comes damned close.  I won’t say exactly where I rank this yet as this is but the first of not only all of Springsteen’s albums, but the first of two releases in 1973. I will say, then when this latest reviewing project is over, I expect to rank this album in my top five of Springsteen’s albums easily. Spirit of the Night especially impresses me and I think that will go down as one of Springsteen’s most inspired songs.  Overall, this is quite a good start to what will become one of the most celebrated careers in rock history.

*MUSTY’S RATING*:  1/2

The Word has Spoken :mrgreen:

1973 would prove to be a pretty active year for Springsteen and band.  This was, in fact, the first  of two albums to be released this year and we’ll be getting to the second in the next installment. So stay tuned.


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## Deleted member 56686 (Dec 2, 2019)

*THE WILD THE INNOCENT AND THE E STREET SHUFFLE*







*Released*: 1973
*Producer*:  Mike Appel and Jim Cretecos
*Label*: Columbia

Springsteen organized the still unnamed band for this foray more into classic rock n roll as opposed to the more folk influenced Greetings From Asbury Park. This is a trip towards nostalgia in many ways as Springsteen seems to be looking fondly back on his formative years. It’s not a lament in the sense that he wants to relive the past, rather that he recalls some happy times and confidently says it’s time to move on.

Like Greetings From Asbury Park,  the album didn’t do very well commercially and Springsteen wouldn’t release an album for another two years. Critically though, it was a success, though I recall not liking this album as much as the first one.  Anyway, time for another spin.

*Best Tracks*: The E- Street Shuffle, Incident on 57[SUP]th[/SUP] Street, Rosalita (Come Out Tonight)

*Weakest Tracks*: Kitty’s Back (sort of)




*The E Street Shuffle*: A quick intro of some brass, and it gets into a groove that is reminiscent of some nostalgic music and yet still sounding very 1973. Genius. com says that Springsteen was influenced by Major Lance’s Monkey Time and I can hear where he may have gotten that from. It certainly sounds like something that could have come out in 1963 with a different arrangement. A good start to the album. It gets a bit funky at the end and that doesn’t seem to hurt.






*Fourth of July, Asbury Park (Sandy*): A sweet ballad essentially. Sandy sounds like an old girlfriend.  This was a romance that wasn’t going to last forever when you listen to the lyrics, but it sounds like a sweet reminiscence of a period that is no more.

*Kitty’s Back*: Kitty is apparently the girlfriend of an old mate’s who leaves for ‘a pretty boy on Bleecker Street’ according to Genius.com. Does Kitty come back to her old lover? Sounds kind of like a soap opera ,doesn’t it? Starts off a bit dramatic and gets into the brass dominated jazzy style that is prevalent on this album. I don’t think this as strong as the first two tracks, but it definitely is exploratory in terms of musical styles.

*Wild Billy’s Circus Story*: Tom Waits calls this his favorite Springsteen song.  I can hear why as it opens up with an accordion, an instrument Waits would use a lot. It’s essentially a folk tune about escaping to the circus. A nice song and some good lyrics, as many of Springsteen’s songs have.

*Incident on 57[SUP]th[/SUP] Street*: The first thing I thought of when I first saw the lyrics was that maybe Springsteen was watching  a little too much West Side Story. It’s essentially involves a romance in the nefarious gang atmosphere of New York City.  In some ways this is a prequel to Jungleland.  It weaves a fantastic tale and it’s one of those songs you have to listen to closely in order to catch the lyrics. Powerful song in its own way.






*Rosalita (Come Out Tonight)*: Probably the best known track on this album, this was the song Springsteen used to use to end his concert sets. Like Incident on 57[SUP]th[/SUP] Street to some extent, this is a song about forbidden love.  Instead of dealing with rival gangs though, the protagonist has to deal with Rosalita’s over protective father.  This comes off as a typical love song, yet the lyrics, and a great arrangement, make for something way beyond ‘will you love me tomorrow’. This later would become popular on AOR radio.

*New York City Serenade*: The album ends with another ode to New York City romance.  In some ways this, like other tracks, is a love fest directed towards New York City. Strange, because Springsteen always struck me as more of a Philadelphia guy, but what do I know? :lol: .  This track is poignant because this is the last time we’ll hear David Sancious on piano as he will be leaving the band shortly thereafter (more on that in the next chapter). Vini Lopez will be leaving too but that’s also for the next chapter.  This is a bit of a ballad with the usual introspective lyrics. I really like the acoustic guitar and the string accompaniment on this one. A sweet way to end this album.


*OVERALL EFFECT*: It’s funny how opinions change once you give an album  a new thorough go over. Yes, I still hold that Greetings From Asbury Park is better, but not by as much as I had originally thought.  One thing for certain, Springsteen has clearly grown as a musician on this effort and you sense that the next album, which will be his breakthrough moment, will come off as a disappointment for true Springsteen lovers, but maybe not. We’ll see.

*MUSTY’S RATING*:  

The Word has Spoken :mrgreen:

So we’ll have to wait for another two years until the next, very important, album.  There will be a conscious attempt to make it more commercial and it will certainly work from that standpoint. But what will the critics think? More importantly, what will Musty, and you, think? Stay tuned to find out.


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## Deleted member 56686 (Dec 4, 2019)

*BORN TO RUN*







*Released*: 1975
*Producer*:  Bruce Springsteen, Mike Appel, and Jon Landau
*Label*: Columbia


1974 was a bit of a transitional year for the E Street Band. Two not so successful albums seemed to put Springsteen on the sidelines, recording wise, though the live shows continued. During this year a tumultuous confrontation between Vini Lopez and manager Mike Appel led to Lopez being asked to leave the group. David Sancious would also leave under more amicable terms to form his own band, Tone.  In their place would be the return of Steven Van Zandt and a new drummer named Max Weinburg, who would later become famous as the leader of Conan O’Brien’s stage band.  Also Roy Bittan would be added as the new pianist.

Recording began on Born To Run in May 1974 and there was a conscious effort to make this more commercial for the masses. This was do or die for Springsteen. If this album had failed, the legend that was Bruce Springsteen may have died with this album.  The album would take over a year to record as it would be bogged down with  ‘wall of sound’ elements. Jon Landau (yes, of Rolling Stone) was also brought in to help co-produce. He would be a major factor in some legal turmoil as he would be ultimately replacing Appel as manager as well which would prevent Springsteen from recording another album until 1978.

This was indeed Springsteen’s breakthrough moment and it had the music moguls’ tongues wagging. Both Time and Newsweek had a still unknown Springsteen on the cover with Time touting him as Rock’s New Sensation. As it turned out, Born To Run, the hit single wouldn’t even make the ten and the album would only peak at number three, not bad, but certainly not the biggest phenomenon since the Beatles as the hype seemed to be saying.

Still, Springsteen had his first truly successful effort and would have been in the studio again rather quickly if not for a lawsuit launched by now former manager Appel.  The critics also raved about the album.

And with that, here are my thoughts.

*Best Tracks*: Tenth Avenue Freeze Out, Born To Run, Jungleland

*Weakest Tracks*: She’s the One



*Thunder Road*: I think it’s safe to say that this album will be full of  small rock operettas.  There is a new pianist here as Sancious had left by now. It’s vintage E-Street band as this track is similar to something that would influence Jim Steinman on Meat Loaf’s Bat Out of Hell album. Springsteen himself referred to this as an invitation to fun and it certainly shows in one of his most classic tracks.






*Tenth Avenue Freeze  Out*: This is said to be about how the E-Street band was mythically formed. Springsteen says  he has no idea what this song means but it’s something important. Despite that cryptic description, this is one of my all time favorite Springsteen songs and probably my favorite on the album.  It has one of the typically great E-Street band arrangements and Clemons is especially on fire with the sax.

*Night*: This track is your typical let’s go out and have fun after a hard day at work songs, with the Springsteen vibe of course. Not was well known as the first two tracks and I can see why. It’s a good song but it doesn’t seem to have the same power as the first two tracks did.

*Backstreets*: This is about a friendship now past though whether it is of a platonic nature, it’s hard to say.  Like Night, this is a good song but doesn’t wow me like Thunder Road or Freeze Out.






*Born To Run*: I think everyone knows this tune. This was the song Springsteen worked on as his make or break effort. If this song had failed, Springsteen would have been back to the bar circuit. So they pulled all the stops with the Wall of Sound effects and everything. The result was a medium sized hit despite all the hype but, with the more successful album as a whole, it was enough to save Springsteen’s career.

And it is undeniably a great song. I remember hearing this for the first time while cruising with some friends and it indeed sounded so fresh. It was unlike anything I had heard before and in 1975, that was saying a lot. It convinced me that all the Time and Newsweek hype that was going on at the time was all worth it.

*She’s the One*: This one has a bit of a Dylan influence.  Actually, the lyrics kind of confuse me and the song is not one of the better ones on the album in my opinion.  I hear the Bo Diddley rhythm as mentioned on Genius.com and Clemons saves the song a bit with the sax but it’s not enough for me.

*Meeting Across the River*: This is a story that Springsteen came up with about a heist I believe. Springsteen was and is good at coming up with stories and one has to think he may have made it as a writer had he not made it as a musician.  This is the slowest song on the album and I like the jazzy mood of this piece.

*Jungleland*: This is something of a rock epic as it clocks in at over nine minutes. This is another favorite of mine. It’s  a tale of a typical night for a young man while hanging out on the streets in New Jersey. It’s certainly an affectionate take on life on the streets even with a bit of a Romeo and Juliet style tragedy tacked on at the end.  This is still one of Springsteen’s great rock anthems that probably says more in under ten minutes than The Who could in their two double album set rock operas. And the Who said a lot. Maybe one of the great endings to an album ever.


*OVERALL EFFECT*: So I guess the question for me is do I give this four and a half stars or go the whole five. I mean there are a couple weak moments in this admittedly classic album. So I look at the album as a whole and I compare it to how I reviewed Sgt. Pepper, an album I not only had no hesitation giving the five star treatment,it’s my favorite all time album period. And yet, even that album has at least one bonafide stinker, something this album lacks. The weakest moments  here are missed opportunities, not something I’d want to puke to.

So figure that in and knowing that at least four of these tracks are, unarguably, some of the greatest music in rock history, I’ll have to give it…


*MUSTY’S RATING*:  :flower: :flower: :flower: :flower: :flower:

The Word has Spoken :mrgreen:


So, Springsteen had made it and the future seemed to look bright. Except there was one problem. Mike Appel had been a bit of a control freak and he had a lot to do with Vin Lopez’ departure. Springsteen would dump Appel for Jon Landau as his manager and a lot of legal wrangling would ensue. Springsteen wouldn’t release another album for three years and soon, he would seem like yesterday’s news.  A shining light that was shot down by circumstances, not an uncommon story in rock. 

But we now  know that Springsteen would make a very triumphant comeback. It wouldn’t be his first one, but it would be his biggest. So stay tuned for the next installment to see if he still has what it takes in 1978.


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## Deleted member 56686 (Dec 6, 2019)

*DARKNESS ON THE EDGE OF TOWN*







*Released*: 1978
*Producer*:  Bruce Springsteen, Jon Landau, and Steven Van Zandt
*Label*: Columbia



To say this album was a long time coming is an understatement. When Bruce Springsteen befriended Rolling Stone music critic Jon Landau, it began an irreparable rift between Springsteen and manager Mike Appel. Springsteen subsequently would replace Appel as manager/producer with Landau and the lawsuits began to fly. Appel wanted financial control of all of Springsteen’s assets while Springsteen wanted his musical freedom. In the end, Appel got a large percentage of Springsteen’s profits from his first three albums as well as a settlement from CBS records and Springsteen’s camp. Springsteen, however, paid a big price as he was not allowed in the studio for a year as a result of a court injunction filed by Appel.  It showed the financial vulnerabilities of a young musician and how easy it is to be taken advantage of. Luckily, Springsteen had the advice of counsel that Landau set him up with, and things would work out in the end. Springsteen and his E-Street Band entered the studio in June 1977 and would work on Darkness On the Edge of Town for nine months.  Springsteen wrote upwards of seventy songs during the recording of this album including Because the Night which became Patti Smith’s biggest (only?) hit, and Fire which became a big hit for the Pointer Sisters.

But only ten songs make the final cut as Springsteen wanted it to be thematic, side one being a positive side and side two being a bit more negative. The critics would praise the album  using the term maturity often. This album is said not to be as commercial as Born To Run and there is some truth to that as it’s certainly a darker album overall.

But I’m getting ahead of myself. Let’s see what we have.


*Best Tracks*: Adam Raised a Cain, The Promised Land, Prove It All Night

*Weakest Tracks*: Factory








*Badlands*: The album opens with one of Springsteen’s best known songs. He claims to have been influenced by the Animals on this one borrowing the rift on Don’t Let Me Be Misunderstood in this case. The lyrics are classic Springsteen as it weaves a story of a guy with hard luck trying to get through it all. It has the classic signature E-Street sound as well. A part of me wonders if  this has anything to do with the mess with Appel, but I guess we’ll never know.

*Adam Raised a Cain*: A friend of mine mentioned that she read Springsteen’s unauthorized biography which indicated he had a complicated relation with his father. Perhaps Springsteen is seeing himself as the Cain in this case. One thing for sure, this song is heartfelt and the arrangement of searing guitars add to the mix. I really like this track.

*Something in the Night*: Obviously one of the lesser known songs on the album, but I do have to say I’m agreeing with the critics in terms of the maturity. While not one of my favorite songs on the album, you can definitely hear how Springsteen has grown musically with this track.

*Candy’s Room*: This one seems to have the “experts’ at Genius. com in a quandary. They don’t know whether this is about a prostitute or some young boy’s sexual fantasy. This track has all the E-Street band elements as if Springsteen is telling a story. One thing for sure, Springsteen didn’t lose anything as a lyricist during his Appel imposed hiatus.  Nice lead guitar on this.

*Racing in the Street*: Here Springsteen is singing of the yearning to escape from adult like responsibilities. There was apparently some drag racing going on near Springsteen’s childhood home in  Asbury Park. In any event, this is a heartfelt ballad dominated by Bittan’s piano






*The Promised Land*: This track was a result of a trip to Utah with Steven Van Zandt in the days after Elvis Presley’s death. Indeed, the title may have come from one of Elvis Presley’s last hits.  This is a great arrangement with Clemons’ sax solo and the harmonica adding to yet another heartfelt song that’s good enough to make my favorites list.

*Factory*: Okay, so somebody is claiming on Genius.com that this is about Springsteen’s father losing his soul at the factory. The only problem with that is Wiki says his father was a bus driver.  I guess that can be soulless too. Anyway, it’s not one of the more memorable songs on the album.

*Streets of Fire*: Dave Marsh would rave about this track as it helped to fulfill all the hype that had surrounded Springsteen three years before. I like the haunting organ and the dark arrangement in general. 






*Prove It All Night*: This might be my favorite track on the album. In some ways this is about young love. Wiki says this is about a girl having to give up her virtue to prove her love for a guy (what a creep!). Anyhow, this is your typical E-Street romp with all the classic settings that an actually bad movie band like Eddie and the Crusiers would rip off and claim they were ahead of the curve in 1964. Yeah, right.  Anyway, this is proof that the original is always better than the cheap imitators.

*Darkness on the Edge of Town*: The last song and the title track is the third that mentions street racing. Street racing was obviously part of the theme on this album. Of course, as with most Springsteen songs, it’s a bit more complicated than that as it talks about alienation and the desire to get out of the darkness on the edge of town so to speak. It’s a slow paced song, one of the better known Springsteen tracks. A solid way to end this epic.




*OVERALL EFFECT*: I sense a moodiness to this album that I didn’t hear on the first three albums. I’m sure a lot of it had to do with the legal entanglements that Springsteen just got out of, but he may have also had extra time to reflect on his youth given the depressing nature of tracks like Adam Raised a Cain and Darkness. Overall, I don’t like the album quite as much as Born To Run, and I’d rate it third out his four albums at this point, meaning I, nevertheless, like this a lot. Just can’t give it the five flower special though.

*MUSTY’S RATING*: 

The Word has Spoken :mrgreen:


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## Deleted member 56686 (Dec 8, 2019)

*THE RIVER*








*Released*: 1980
*Producer*:  Bruce Springsteen, Jon Landau, and Steven Van Zandt
*Label*: Columbia

There were a lot of things going on in the late seventies into 1980 and it would influence the direction Springsteen was about to take. The brand new star aura was now gone for one thing. The legal entanglements were now behind him but now there was a feeling of ‘how can he top Born To Run and Darkness?’ Add to that, the US was in an economic recession that would affect Springsteen indirectly by way of his sister. She was married to a guy who lost his job in construction and was struggling to make ends meet. This, among other things, influenced Springsteen to write songs of a more personal nature. He wasn’t writing about hanging out in the parking lot anymore. Now he was writing about things that affected the average person.  And the end result would be The River, released late in 1980.

The double album set was meant to be released as a single album that would have been called The Ties That Bind. It didn’t seem enough for Springsteen, thus, we have the two album set.

I might mention that there is some personal importance to me surrounding both this album and of Springsteen himself.  For starters, the first single, Hungry Heart, opens up with “Got a wife and kids in Baltimore, Jack.” Well, I’m from Baltimore so of course I listened, not caring that it’s about a lone wolf that left his family.

Then there is the fact that this album was getting a lot of airplay in late 1980 when John Lennon was murdered. So The River is an album that I connect to the period. There is also the irony that Springsteen would play a tribute to Lennon the following night in Philadelphia. He wasn’t the only artist to do this of course but it seemed symbolic that Springsteen would be doing an already scheduled concert near his own home base in New Jersey at that same time.

Anyway, let’s review the album, shall we?



*Best Tracks*: The Ties That Bind, Hungry Heart, Out in the Street, The River

*Weakest Tracks*: Crush On You, You Can Look (But You Better Not Touch)



*The Ties That Bind*: The album opens with what was supposed to be the title track to a single album meant for release in 1979. Instead it’s here and it starts the theme of this double album set with an upbeat tempo. I’m not sure this is more about a breakup or something a bit deeper, but it’s nonethleless a great start to the album.






*Sherry Darling*: This had been left off Darkness On the Edge of Town. Not surprisingly, this is more about life in New York City. It certainly sounds like New York given the blunt lyrics which is one of the things I love most about New York. There is a brutal honesty you don’t hear anywhere else. No one’s afraid to hurt any feelings, that’s for sure. Another upbeat tune.

*Jackson Cage*: It’s perhaps here where you start getting into the theme of the album. This one addresses the employment conditions, or lack thereof, that was prevalent in the US in 1980.  Springsteen looks at Jackson Cage as something akin to a life sentence. It’s sad, may even a little desperate. Can’t argue about the quality of the song though. Springsteen’s three for three so far.

*Two Hearts*: This is probably more of a love song of sorts. Maybe not one of Springsteen’s better efforts. The lyrics aren’t bad and I do like the two hearts are better than one line, but, overall, it comes off as pretty average by Springsteen standards.

*Independence Day*: This could be one of Springsteen’s songs that emphasizes his personal relationship with his father. One thing I’ve learned after researching Springsteen was that he had something of a complicated relationship with his Dad. And you can feel the pain in this melancholy track.







*Hungry Heart*: Got a wife and kids in Baltimore, Jack. Still can’t get over that line, even if it was essentially a song about a drifter. This was the big hit off the album and, like I mentioned earlier, is kind of an important song to me for reasons unrelated to the song itself. You can certainly hear the commercial appeal of this track.

*Out in the Street*: This is basically a slice of life in a working man’s surroundings. It has some of the Springsteen trappings as he tells his girl to get ready for a night on the town. It’s a happy song. A positive song in the wake of economic turmoil. Perhaps this was a guy that survived the economic downturn, and a lot of people thankfully did. I like this song.

*Crush On You*: Not really the most lyrically rich of Springsteen’s songs, I’m not sure if I’d exactly call this a filler track (Did Springsteen consider anything filler?). I do like Clemons’ solo, but this doesn’t seem to fit in with the theme of the album overall.

*You Can Look (But You Better Not Touch)*: Interesting article on Springsteen’s songs https://www.vulture.com/2016/06/every-bruce-springsteen-song-ranked.html. There is supposed to be a rockabilly version of this somewhere. Like Crush On You, though, I can’t say I can get into this obvious rocker.

*I Wanna Marry You*: Again from Vulture (why didn’t I discover this article earlier?), this is a slower ballad by Springsteen standards and yeah, I can definitely hear the Roy Orbison vibe here. And since I happen to be an Orbison fan… thumbs up.







*The River*: The title track to the album and probably my favorite. This one is a bit darker than much of his material and the E Street Band isn’t involved in this. In some ways this is a precursor to Nebraska. This is one of Springsteen’s most personal songs as he sings in the voice of his brother-in-law and covers his early marriage to Springsteen’s sister. It really is a working man’s song in so many ways. Few Springsteen songs have this type of intensity which is saying a lot for someone who can write some pretty intense material.






*Point Blank*: A piano dominated ballad that reflects on a broken relationship. Not an unusual theme to be sure, but Springsteen somehow turns a typical theme into something more lyrical as breaking up is akin to being shot in the back.







*Cadillac Ranch*: Springsteen at his upbeat best. If you read the review on Genius.com, Dave Marsh seems to suggest this is in fact a graveyard for those that live in the fast lane- literally. If so, it’s certainly an upbeat way to do it. Pretty clever.

*I’m a Rocker*: I think Springsteen is channeling 1966 if you look at the lyrics.  Springsteen isn’t being introspective on this track. Rather, the band just seems to be having fun which is what a band should be doing anyway, right?







*Fade Away*: This ballad was released as a single but I don’t remember this doing very well.  This track garnered some pretty good reviews, but I don’t get that vibe personally. But, different strokes… no, I’m not Gary Coleman. :lol: I do like Federici’s organ solo.

*Stolen Car*: This one is a bit stark. Replace the piano with an acoustic guitar and it fits quite well on Nebraska. It’s a sad song about a relationship that didn’t work out. Where the stolen car enters into this, I couldn’t tell you, but it seems to work.

*Ramrod*: Springsteen gets back on the upbeat train with this one. This one has a great Farfisa organ and certainly has the elements of a fun sixties song that talks about cars and girls. Not a favorite song but certainly not a bad one either.

*The Price You Pay*: I think Springsteen is talking about the consequences on what path you may take. Whether he’s talking about romantic choices or career choices, only he knows for sure. One thing for sure, it’s a bit of a reality check after the fun of Ramrod.

*Drive All Night*: Probably the slowest song on the album. It’s somber in tone but yet there is a lot of hope in this song. It’s one of Springsteen’s abilities, to take something negative and turn it into a positive message of hope, something that will be much needed in later years for all of us really.

*Wreck On the Highway*: Springsteen says he ripped the title from the Roy Acuff classic. Yes, this is a country tinged tune to a large extent.  I even wonder how much he took from Acuff’s song itself. I’ll have to play sleuth and check it out sometime. I do remember Acuff’s song being quite powerful, even for the 1940s. Anyway. It’s a pretty pensive way to end this double album set.




*OVERALL EFFECT*: The first of the two discs comes close to five star quality with tracks like Hungry Heart and the River. It tails off a bit on side two. But the quality remains high. Again, there are the personal elements for me and I know that critics rate this as one of Springsteen’s best. For me, I’m not as sure. It’s certainly an excellent album and it’s getting four stars, and I love how he is maturing as a songwriter. But I still keep looking at Born To Run as the barometer, and I haven’t found an equal to that album as of yet. Still, Springsteen’s momentum is still going strong. Nice piano at the end.


*MUSTY’S RATING*: 

The Word has Spoken :mrgreen:


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## Deleted member 56686 (Dec 10, 2019)

*NEBRASKA*







*Released*: 1982
*Producer*:  Bruce Springsteen
*Label*: Columbia



After the success of The River, Springsteen went to work on what was to become the next E-Street album in early 1982. Springsteen recorded about twenty demos at his home with the intention of teaching the band, who would add their own arrangements as always. It turned out though, that Springsteen felt the songs were too personal and only some of the songs that were recorded by the band would surface on an album, notably Born in the USA.

What Springsteen did with the remaining tracks instead was to master the demo tapes with some sparse overdubbing and release it as a stripped down album that is arguably the starkest album Springsteen would ever do. It’s a folk album essentially and it wouldn’t play as well commercially as his earlier efforts and certainly not as well as the megahit Born in the USA two years later. Critically, though, it’s considered one of his best.

But is it one of Springsteen’s best according to Musty? I’ll give you a hint- could be 


*Best Tracks*: Nebraska, Atlantic City, My Father’s House

*Weakest Tracks*:  None


*Nebraska*: The title track is an account of the infamous Charles Starkweather killing spree in 1958. Sung in an autobiographical voice, the lyrics come off as quite chilling. In some ways it reminds me a little of Sufjan’s Stevens’ John Wayne Gacy as it seems to be a song about getting into the mind of aserial killer. Depressing, stark, and just plain brilliant






*Atlantic City*: The video was on heavy airplay on MTV when I originally saw the network in 1983. The video looks about as stark as the song sounds.  The premise is a young couple trying to escape to the resort while the male protagonist is rubbing elbows with the mob. It’s a depressing song to be sure which makes it all the more powerful.  Possibly the most commercial song on the album if there is one at all.

*Mansion On the Hill*: I couldn’t find much on what Springsteen meant by the mansion on the hill, but this Appalachian influenced song seems to be of a positive vein lyrically. So far the thing I like this album the most is that it’s really a folk album in the vein of early Dylan or Pete Seeger. I’m liking this album a lot.

*Johnny 99*: Another song of despair. In this case, a laid off auto worker resorts to petty crime just so he can feed himself. The protagonist gets 99 years but asks to be executed instead.  Johnny Cash would cover this a year later along with Highway Patrolman. This is certainly in the folk vein with nothing but acoustic guitar and harmonica, a going theme on this album.

*Highway Patrolman*: Reverse the characters and you have a man who takes a job as, well, a highway patrolman. He has to deal with issues concerning his brother. It’s a sad song to be sure as he reluctantly lets his brother escape to Canada after a bar melee.  Again, there is a sad vibe to this folk tune. I have to hear Cash’s version now.

*State Trooper*: Springsteen is said to have been influenced by the band Suicide and their minimalist approach to music.  This almost sounds like the E-Street band without the instruments. Of course Nebraska is all Springsteen.  The howling was taken from the Suicide track, Frankie Teardrop.

*Used Cars*: One of the more gentle tunes on the album as Springsteen recounts a day out with his family as a child. It’s a sweet tune. I might mention I have yet to find a weak track here.






*Open All Night*: This, too is a more positive song. Springsteen goes electric on this track, which was released as the album’s second single. This sounds a little like Pink Cadillac only without the band behind him. I like how he rocks on this one even without all the accompanying instruments.

*My Father’s House*: I gather from what I’m reading this is something of a personal song for Springsteen. He would often drive past his father’s house for a time in some vain attempt to make things right. I have to admit this is a little personal for me too as I haven’t had the best relationship with my own father.  I’m not sure I realized just how Springsteen resonated with me until I started this project.

*Reason To Believe*: This is essentially a song with four vignettes starting with a man desperately trying to bring a dead dog back to life. He follows up with a woman believing her man will come back, and so on, the theme of the song being that people have to have faith. There is a bit of a gospel feel to this and it makes for an interesting end to the album.




*OVERALL EFFECT*: Okay, so this is easily the most unique album Springsteen has recorded to date and there won’t be another similar until The Ghost of Tom Joad, which I have to admit, I’m really looking forward to (I waned from Springsteen a bit after Born in the USA). Essentially, this is a folk album and I happen to be a big folk music fan. There are so many parallels to Dylan on this album, it’s not funny.  It’s a dark album at times to be sure, but there is such a stark beauty to the minimalist style on this album.

So now comes the million dollar question. Is this one of Springsteen’s best albums? Well, sorry to say, it isn’t.

No, actually, it’s my favorite Springsteen album of all time. Not only that, but I listed this as my favorite album of 1982. So, yeah, it rates.  Who knows, if he had stayed on this course, he might have even cracked my top 100 artists list instead of being on the cusp. 


*MUSTY’S RATING*: :flower: :flower: :flower: :flower: :flower:

The Word has Spoken :mrgreen:


 So Springsteen has proven his mettle as someone who doesn't have to always go for the money. I'm not sure how the folks at Columbia felt about that, but they would be rewarded very nicely with Springsteen's next album, the blockbuster Born in the USA that would net seven top ten singles and be the best selling album of 1984. So can commercial success and artistic success go hand in hand? Stay tuned for the next installment and find out


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## Deleted member 56686 (Dec 13, 2019)

*BORN IN THE USA*







*Released*: 1984
*Producer*:  Jon Landau, Chuck Plotkin, Jon Landau, Steven Van Zandt
*Label*: Columbia



The Electric Nebraska sessions would be the bulk of this, the most successful of all Springsteen albums.  Seven of the twelve tracks would be released as singles and Springsteen was all over the place on MTV in 1984 going into 1985. As many of the tracks (though not all) were from the Nebraska period, much of the material, notably the title track, would concentrate on the everyday experiences of the common man. The album though is in a much more mainstream vein than Nebraska was. In fact this may be Springsteen’s most commercial album.

So, having heard this before, as has just about anyone else it seems, I can already tell you I won’t like this as much as Nebraska. The real question is will I like it at all, well, let’s see…


*Best Track: * Downbound Train, Bobby Jean,  My Hometown

*Weakest Tracks*: Dancing in the Dark








*Born in the USA*:  This track has quite a bit of history to it. Ronald Reagan used this track as his re-election campaign theme. Not only was Springsteen upset about this, Reagan and his fans totally missed the point of the song. For this isn’t about patriotism at all. This is about the experience of a Vietnam Vet who had to endure the hardships that came from that war. It isn’t complimentary of US policy, and certainly not Reagan’s policy, at all. It isn’t really a favorite Springsteen song but that has more to do with the glossy production than of the song itself, which is certainly one of Springsteen’s most powerful set of lyrics. NOTE: I heard the Nebraska acoustic version, and man is that song powerful. 






*Cover Me*: This had been written for Donna Summer but Jon Landau thought it worked better as a Springsteen track. There is a certain funkiness to this, but I think there may be a little too much polish to this.

*Darlington County*: A song about a couple of buddies from New York looking for work out of state (South Carolina?). It boils down to two friends looking for a little fun. Pretty innocent in that regard. A nice upbeat temp with a solid sax solo by Clemons.

*Working On the Highway*: This is a darker version of Darlington County (perhaps this is the Wayne character from Darlington County who had been arrested?). Here the protagonist trades a job on the highway for a prison stint working, ironically enough, on the highway.  The arrangement is far from dark as this is pure rockabilly. It’s actually fun to listen to.

*Downbound Train*: This dark, sad, song, about a laid off worker (a typical Springsteen theme) was meant for the Nebraska album.  This guy is down on his luck as he loses his girl and ends up on a railroad gang.  This one is a solid driving song. It’s depressing and yet never maudlin.






*I’m On Fire*: This track has quite a mood to it. Vulture calls it one for the ladies and I can see the sexual attraction to this. This has a bit of a rockabilly feel to it and it certainly adds to the song. This was one of the seven singles released off this album.

*No Surrender*: This wasn’t going to be on the album, but Steven Van Zandt convinced Springsteen to add this one on.  Like Born In the USA, this would find its way into a Presidential campaign. In this song’s case, The John Kerry 2004 campaign. It’s certainly a positive track and it’s a good start to side two.

*Bobby Jean*: This is said to be a farewell to Van Zandt. Zandt was leaving the E-Street band to pursue his own career. It proved to be a good move for him as he would keep returning to his old friend over the years.  It’s a beautiful song about friendship and that, of course, is the song’s charm.  Very sentimental tune.






*I’m Goin Down*:  There aren’t a lot of words on this track outside of the main chorus of course. The song is buoyed by the farfisa organ like background. This really isn’t one of my faves but not a bad tune all in all. Another great sax solo.






*Glory Days*:  This is possibly the second most popular song on the album. Lyrically, it plays as if someone’s best days have passed by, thus the Glory Days. It’s a nice pop song basically, but like many of the tracks on the album, maybe a little too commercial for me.






*Dancing in the Dark*: This one certainly has a history, well, the video does anyway. It’s a typical Springsteen love song, but the highlight is where he picks a random member of the audience to dance with him- who just happens to be Courtney Cox. Yes, unbeknownst to Springsteen at the time, it was all set up. That’s not why this is my least favorite song on the album though. I know this sounds weird but it sounds like something I’d make believe I’m recording with my mouth. Don’t ask, I do pretty weird things, okay? :lol:






*My Hometown*: Luckily the album ends with one of its strongest tracks. A fictional story by nature, yet strongly influenced by Springsteen’s own youth in New Jersey.  It’s not all nostalgic as Springsteen laments about the racial turmoil that was prevalent in his hometown in the sixties, but it is a nice slice of life type song and I like how it ends the album.


*BONUS TRACK: Pink Cadillac*: This track ended up on the B-side of Dancing In the Dark.  Springsteen meant this as a bar band song and it's certainly what makes this song work.  Actually I’d argue this should have been the A-side but then I guess we wouldn’t have gotten to see Courtney Cox dance and then she wouldn’t have been on Friends and… you get the idea.





*OVERALL EFFECT*: I think there is a fundamental problem with some rock critics. Critical acclaim and commercial success isn't always supposed to go hand in hand. Of course, that’s hardly the case but I think they may have been blinded a little by the massive success of this album. That doesn’t mean this isn’t a bad album, not at all. It’s actually quite listenable and even my weakest track isn’t all that terrible. But I can’t help thinking that they tried so hard to make this a commercial album, and they were wildly successful in that regard, but it really wasn’t the Bruce Springsteen I’ve been used to listening to.

*MUSTY’S RATING*:  1/2

The Word has Spoken :mrgreen:

And with that, Springsteen is on top of the world. All he now has to do is avoid saying he’s bigger than Michael Jackson because you know what happened to the Beatles. :lol:

Seriously, though, Springsteen is at the height of his career and he soon is going to find himself in the gossip magazines through his new marriage to actress Julianne Phillips while falling for his backup singer, Patti Scialfa, at about the same time. None of who deserved the crap that would get thrown at them. Anyway, there seemed to be only one way fro Springsteen’s career to go at this point.

Or was there? Stay tuned for the next installment as we cover one of the great live album achievements in rock history. See you then.


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## Deleted member 56686 (Dec 17, 2019)

*LIVE 1975-1985*








*Released*: 1986
*Producer*:  Jon Landau, Chuck Plotkin, Bruce Springsteen
*Label*: Columbia


Bruce Springsteen was never bigger than he was in the mid 1980s. Born In the USA was still garnering interest into 1986 and there was now great anticipation for a live album. And the Boss didn’t disappoint. Forty tracks from various concerts over a ten year period are on this five album set and, like Born in The USA before it, garnered excellent reviews. It also set a then record for advance sales as some stores reported selling copies of the set off the delivery trucks.

So, here’s the deal. I am going to listen to the entire set but I’m only going to review the songs that hadn’t been recorded on a Springsteen studio album. I will comment on the album as whole in my overall effect section. I will say I have heard parts of this album and I remember the energy that was on it.

And with that…

*Best Tracks*: Spirit in the Night, Paradise by the “C”, Growin’ Up, The River, War

*Weakest Tracks*: Thunder Road (where’s the sax?), This Land Is Your Land


*Paradise by the “C”*: This is purportedly the only instrumental in Springsteen’s entire repertoire. I like it. It has a lot of energy and Clemons is especially active on the sax here.  This is probably an example of why Springsteen and his E-Street Band are one of the most popular live acts ever. This is pure fun.






*Fire*: Some interesting trivia considering it would be the hit for the Pointer Sisters in 1978. Springsteen actually gave this song to Robert Gordon who was a retro rockabilly artist. He only did that because he actually wrote this for Elvis Presley, who had to die on him.  Anyway, Springsteen does a decent job with it being live and all, but I have to lean towards the Pointer Sisters when all is said and done.

*Raise Your Hand*: Originally recorded by Eddie Floyd in 1967 and written with Steve Cropper and Al Bell. Yes, this is Stax territory. I haven’t heard Floyd’s version though I think I will. Nice cover, very soulful, upbeat. Not quite as good as Knock On Wood but, yeah, a fun song to play in concerts.

*Because the Night*: This is, of course, the Patti Smith staple. Springsteen gave this one away during his dispute with Mike Appel. It was worth it as this would become Smith’s most successful song.  It’s a nice tune but Springsteen never meant this to more than anything but a love song. In fact, Patti Smith would add lyrics to her version to make it sound more like her song and it really does fit her style better.

*This Land Is Your Land*: Of course this is the Woody Guthrie song. I assume he learned this song in elementary school like everybody else.  It’s not a bad rendition and I guess it works in concert but, somehow, Guthrie’s version has a bit more punch to it.

*Seeds*: This is one of Springsteen’s political statements to be sure as he laments the struggles of the working man. In this case a guy that hopes to make it big in the Texas Oil Boom. Of course, he doesn’t and this is basically railing against the rich barons.  There is obviously an angry vibe to this song but it probably wasn’t enough for Springsteen to put this on an album. Nice lead guitar by Nils Lofgren.

*The River*: Well, the first half actually. Because it isn’t this song at all, rather it’s Springsteen recounting his experience after a motorcycle accident and then almost having to go to Vietnam only to fail his physical exam. It’s frankly rather touching and one forgets the anguish young men had to go through in the sixties and into the seventies.






*War*: This is maybe the best track on this set. Of course, this is the powerful anti-war song originally recorded by Edwin Starr. I’ll have to cover this in more in depth later as this was originally released during a transitional period at Motown, but you can replace Vietnam with Nicaragua and El Salvador and you can get the same kind of powerful statement that Springsteen very ably delivers.

*Jersey Girl*: Well, if Tom Waits is a Springsteen fan, the boss knows how to return the compliment. Jersey Girl is a Tom Waits composition originally off his 1980 Heartattack and Vine album.  It’s a slow ballad that I’m sure made Waits proud. Nice track to end the five record set.



*OVERALL EFFECT*: Okay, so first I’ll mention the tracks that impressed me. There was the fun Paradise by the “C”,  then there was Growin’ Up, where Springsteen talks (literally) about an accident and a court hearing sort in Arlo Guthrie style.  I also like the Nebraska tracks. To me they play as well live as they did in the studio.  I especially like how The River starts off with a remembrance of Springsteen’s youth that I mentioned earlier. It makes the next track, War, which isn’t Springsteen’s song actually, very personal.  Cover Me is interesting as it features a female singer (Patti Scialfa?). I keep forgetting this is where Springsteen’s romance with his new backup singer began at the expense of his recent marriage to actress Julianne Phillips.

So I guess to rate this overall I have to admit I’m not a live album connoisseur. I can name the live albums I like on maybe two hands, notably Johnny Cash at Folsom Prison and San Quentin and  The Who Live At Leeds. This won’t be one of them, but still, it’s a pleasant listen and the tracks that hadn’t been released on albums by this point are quite good overall. So when is all said and done…


*MUSTY’S RATING*:   1/2

The Word has Spoken :mrgreen:


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## Deleted member 56686 (Dec 20, 2019)

*TUNNEL OF LOVE*








*Released*: 1987
*Producer*:  Bruce Springsteen, Jon Landau, Chuck Plotkin
*Label*: Columbia


This would be a significant turn in Springsteen’s life, both professionally and personally. His marriage to Julianne Phillips was already on the rocks and the rumors that he was seeing band member Patti Scialfa wasn’t helping matters much. On top of that, he more or less broke up his E Street Band and they are only sporadically on this album. Though personal relationships remained strong, the band itself was going in different directions. Not that they wouldn’t appear on future Springsteen albums, but it wouldn’t be until The Rising where they would again get full credit.

As for the album itself, much of it had to do with his struggling marriage. It was maybe a little too personal for close friend Steve Van Zandt who criticized Springsteen for singing about himself too much. With anyone else, this might have been taken as a nasty Lennonesque jab but Springsteen knew Van Zandt was criticizing out of love (which was true).

So I guess, in a way, this is a break from the usual working man anthems that Springsteen was known for and it would be successful as it garnered some decent reviews. As for me, well let’s see…




*Best Tracks*: Ain’t Got You, Cautious Man,

*Weakest Tracks*: Walk Like a Man, Tunnel of Love



*Ain't Got You*: This one starts off with a gospel accapella. The album, and this track among them, is said to be autographical as Springsteen sings about loneliness here. It’s stripped down with only Springsteen and an acoustic Bo Diddley beat. I really like this track and it’s a great opening.






*Tougher Than the Rest*: This is more fully realized as synthesizer and electric drums are added to the mix.  Lyrically it’s a beauty and the beast type song in my opinion. It’s fairly commercial compared to Ain’t Got You, but a very nice tune. Missing the E-Street band though.

*All That Heaven Will Allow*: Not too much on this one except that Vulture calls this a positive song in general.  It’s a pleasant tune overall but I can’t say I can get into this one too much.






*Spare Parts*: This is a cautionary tale about pre-marital sex obviously and the consequences that come with it. It doesn’t help that Bobby bravely runs away, what a guy.  This is an angry sounding song as Vulture suggests and it makes this song sound quite powerful.  Much of the E-Street band is here for this track.

*Cautious Man*: This one is pretty much Springsteen territory, lyrically speaking, as it seems to delve into the mind of a desperate young man. This is essentially a folk song. It’s stark and probably would have fit well on Nebraska as Vulture suggested. I also seem to like this song better than Vulture (this is from their rankings of all his songs). His stripped down tunes always seem to have a little more feeling to me.

*Walk Like a Man*: Another song about Springsteen’s complicated relationship with his father. I get the lyrics and I know it’s heartfelt, but it doesn’t seem to have the strength of some of the other tracks on the album. Maybe a little too eighties in terms of arrangement for me.






*Tunnel of Love*: A song of hope in a new marriage it seems. This is the song I remember most from this album and it sounds like this was worked on to be a single. The critics seem to love this track, but I can’t say I’m all that impressed. Still, this is miles away from Tenth Avenue Freezeout as this is much more introspective.

*Two Faces*: Another stripped down song as he anguishes about his marriage. Julianne must have been having a blast when she heard this album.  This is mainly guitar, a little organ, and some drums. Not quite acoustic, pretty effective.






*Brilliant Disguise*: Springsteen is said to have gone into therapy in part because of this song. It was clear Springsteen was unhappy in his marriage at the time. In later years he has been quite apologetic to his ex-wife but at the time, I guess it was all about him.  This may have been his most commercially successful song as it it number one on the mainstream rock songs. Like this one better than the other big hit on this album.






*One Step Up*; Yet another song about the acrimony that was Springsteen’s unhappy marriage. There are so many metaphors in this song such as the girl he meets in a bar (Patti in the band?). You sort of feel for the guy at this point though you also would love to hear the other side of the story.  At least here, he is blaming himself more than anything else.  Nice track. Like the background vocals.

*When You’re Alone*: This is another angry song from a lyrical standpoint.  The theme of album is obviously loneliness. Musically, it’s a simple arrangement that fits in well with the album.

*Valentine’s Day*: A rather sad song despite the title as Springsteen misses his baby. This lament seems a bit sadder than his more upbeat earlier efforts as this may have been much more personal. It sounds a little like a country bar tune. It’s mostly acoustic with the signature keyboard that is prevalent on Springsteen albums these days.  A decent way to end the album.




*OVERALL EFFECT*: So, in some ways, I like this better than Born in the USA, but it doesn’t reach the heights of his best albums which, to me at this point, are Born To Run and Nebraska. Still, the best tracks match up with the best tracks on his other albums.  And the worst tracks are again not terrible so much as they don’t match up quite with the best tracks. Really, I don’t think I recall a Springsteen song I actually hate at this point. But there are only a handful of what I would call ‘Musty classics’ and none of them are on this album, I’m afraid.  But, overall, it has a theme, a personal theme, that makes you think, and that, perhaps, is the main value of this album. Not a great album but definitely better than average.

*MUSTY’S RATING*:      1/2

The Word has Spoken :mrgreen:


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## Deleted member 56686 (Dec 23, 2019)

*HUMAN TOUCH*








*Released*: 1992
*Producer*:   Bruce Springsteen, Chuck Plotkin, Jon Landau, Roy Bittan
*Label*: Columbia


When we left off last time, Springsteen was in the last stages of a bad marriage to Julianne Phillips while publicly courting Patti Scailfa. I still remember the dirt that was going on in the snot rags, as I affectionately call them, condemning both Springsteen and Scailfa, and not necessarily being complimentary to Phillips either. Springsteen bared his soul on Tunnel of Love and the marriage ended, after which, Springsteen took a five year hiatus from recording.

Well, sort of. He and Roy Bittan, upon formally breaking up the E-Street Band, worked on three tracks, while Springsteen also worked on an album that would become Lucky Town which, coincidentally enough, would be released on the same day as this one. That would be abandoned and not revived again until 1991.

Which brings us to Human Touch, the first album that doesn’t have The E-Street Band on it at all, unless you count Bittan, who co-produced. Human Touch was supported by mostly studio musicians from LA and it didn’t necessarily go well with the critics. In fact, this may have been the first panned album of his career. In a way, Springsteen was saved by the brainstorm of releasing this on the same day as Lucky Town, which we’ll cover in the next installment. We’ll also talk about how that project, considered the more popular of the two, came to be.

In the meantime, will this be the first time the Boss scores less than a three? Well, let’s see…





*Best Tracks*: Human Touch,  With Every Wish, Pony Boy

*Weakest Tracks*: Roll of the Dice, Real World, Real Man






*Human Touch*:  In a sense, this is about starting over. Springsteen was now a few years away from a bad marriage and was now enjoying a happier relationship with Patti Scailfa. There is a maturity, a sense that one must go on. He wants to rejoin the world again judging from this track. Gets more powerful as the song goes on with some nice harmonies from Patti.

*Soul Driver*:  Vulture https://www.vulture.com/2016/06/every-bruce-springsteen-song-ranked.html doesn’t rate this song very highly and it does kind of sound like standard eighties fare even though it was now 1992. Can’t say I hate the song though. Not a favorite to be sure but I’ve certainly have heard worse.






*57 Channels (And Nothin’ On)*: Interesting in that it started as a humorous slap at the gossip that had been following Springsteen. Later, in concert, it would become something of a lament of the LA Riots which happened right after the release of this album.  Since I haven’t heard the live version, I can’t judge how dark this song would become. The more light hearted version you hear here isn’t bad though.

*Cross My Heart*: A country tinged love song basically. Pretty standard early nineties fare. Nothing to especially jump and down about.

*Gloria’s Eyes*: Another love song. I don’t think is autobiographical though as I don’t think anyone was actually trying to run back to Springsteen.  A nice rocker basically but I have to think the E-Street would have done this better.

*With Every Wish*: If there is a theme at this point, it’s maybe that there is no theme. Most of the songs to this point are your standard love songs with a few variations.  This song is a bit subdued in terms of arrangements. I really like the trumpet on this.






*Roll of the Dice*: Co written with Roy Bittan, it’s Springsteen yet again taking a chance on love.  I do think there are too many gambling innuendos and it does sound kind of overproduced for me. Maybe this would have been better material for Eddie and the Cruisers. :lol:

*Real World*: This was also written with Bittan. Again, this is about love; Springsteen clearly isn’t getting topical on this album. I have to say it isn’t a song that really hooks me. I can see why the critics were a little hard on this album.

*All Or Nothin’ At All*: Lyrically, this almost sounds like the old “If you love me” trick to get a girl in bed though I suspect Springsteen is a little more mature than that.  Pretty much a standard song, nothing I’d kill for.

*Man’s Job*: Springsteen brought in Sam Moore for this track as he is trying to channel his sixties soul self.  The problem is, this doesn’t sound all that soulful. Maybe he should have brought Dave Prater back from the dead but then again, Sam and Dave stopped talking to each other sometime around 1968.

*I Wish I Were Blind*: A song of rejection basically, though Springsteen’s lyrics make it a little more palatable than the usual fare. You could argue the synthesizer hurts the song a little and Springsteen does tend to use that instrument a little too much. It’s okay to use strings once in a while, Boss.  Anyway, it’s mediocre, but not necessarily bad.

*The Long Goodbye*: This may the most personal song on the album as Springsteen is essentially singing about his eventual move to California. It’s like he’s sad to leave and yet he’s happy to go. Unfortunately, the production seems a little over the top. Maybe a slower tempo could have helped this track a lot.

*Real Man*: I can’t comment on the lyrics here as it’s again pretty typical love song fare.  Okay, maybe I can. He really does need the E- Street Band. Springsteen just doesn’t do well with just any old studio musicians. I mean I’m sure they’re fine and all but they aren’t really a band. I think I actually hate this song.

*Pony Boy*:  This is a song that was actually written in 1909 (not by Springsteen obviously). And guess what? I like this. It’s just Springsteen and an acoustic guitar and harmonica singing a western tune.  This is what he needs to do more often.






*OVERALL EFFECT*: One of the themes I’ve had while doing these reviews was my criticism of Springsteen when he sounds a bit too commercial and that is certainly something that has a negative effect on this album.  There are enough decent tracks for me not to give the album the lowest rating, but so far, this is easily the weakest of Springsteen’s efforts. Let’s hope I like the better received Lucky Town better.

*MUSTY’S RATING*:  :neutral: :neutral:

The Word has Spoken :mrgreen:


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## Deleted member 56686 (Dec 25, 2019)

*LUCKY TOWN*







*Released*: 1992
*Producer*:  Bruce Springsteen, Chuck Plotkin, Jon Landau
*Label*: Columbia



So, maybe it was a marketing ploy, or at least that’s how it seemed at the time, but this set of ten songs was released on the same day as Human Touch. This is somewhat different than Human Touch whereas Springsteen seemed to be pulling all the stops, commercially speaking, on Human Touch, here he is being more stripped down. This album is said to be in a more folksy vein.  The songs are more personal in nature and he is singing about periods, happier periods, in his life since the divorce, This was the better received of the two albums and it seemed in the end, his fans agreed.

Well, I’m not a fan, not by Springsteen standards anyway; I simply just like the guy, so I’m interested in how I’ll like this. Is this the better of the 1992 albums? Well, let’s see.



*Best Tracks*: Lucky Town, Book of Dreams

*Weakest Tracks*: Leap of Faith,






*Better Days*: And it starts off positively with Springsteen moving on with his new friend (Patti I assume). This is a solid rocker. I’m still missing the E-Street Band but at least the instrumentation seems more real. Good way to start the album.






*Lucky Town*: The first thought in my mind was, is Lucky Town the neighborhood bar? Whatever the intent, this is a nice folk rocker and already I’m feeling a lot more energy on this album than I did on Human Touch.

*Local Hero*: This is Springsteen poking fun at himself in some ways, He is finding humor as he is regarded as a local hero and another person is trying to ‘save’ him.  The lyrics are a bit amusing.  Another nice folk rock tune, not as strong as the first two tracks.

*If I Should Fall Behind*: A personal love song of sorts with a  great line, “I’ll wait for you, and should I fall behind, wait for me.  Vulture calls this something of a wedding song. Maybe and it’s certainly sounds like a personal ballad. Not bad.






*Leap Of Faith*: Essentially a song about, well, faith, Springsteen borrows a few biblical references on this one.  Probably the weakest track on the album so far. It’s okay, but it sounds like Springsteen by the numbers to me.

*The Big Muddy*: Of course this has to be a homage to Pete Seeger who famously wrote an anti-war song about The Big Muddy. Springsteen even uses one of his lines (waist down in the big muddy). Springsteen puts this in a more domestic setting than Seeger did though. There is a bit of a bayou-type vibe to this. Maybe a little too much production though.

*Living Proof*: This was written about the birth of his first child, a son. It’s very emotional to say the least. This is a solid rocker that belies the rather sensitive lyrics.

*Book of Dreams*: This track is basically about second chances. And, like Better Days, this seems to be addressed to his new wife. This is quieter, probably the quietest on the album. That makes it all more personal.  Nice melody, I really like this ballad.

*Souls of the Departed*: Springsteen is again finding his political voice on this one as he addresses the recent events of The Gulf War and the LA gang wars. It’s personal to him as he thinks about his own son.  Musically, I can’t say I can get into this song which is a shame because Springsteen is obviously concerned about the world he is about to send his young son into. Great lyrics, needless to say.

*My Beautiful Reward*: Well, lyrically this is simple enough. After searching for artificial means, he finds his beautiful reward in Patti.  This is a gentle way to end the album but I don’t find this as anything special.




*OVERALL EFFECT*: So I guess the first question is, do I like this album better than Human Touch? The short answer is yes.  So then the question becomes, how I compare this album to earlier efforts? Is it as good as Nebraska or Born To Run? Uh, no. Is it as good as, say, Born in the USA? Well, maybe.  He certainly isn’t trying to play superstar here which is what I like about Springsteen generally. I do wish he hadn’t broken up the E-Streets,  but the musicians here do a decent job for the most part. Most importantly, Springsteen seems to be getting his groove back. So with that…


*MUSTY’S RATING*:   1/2

The Word has Spoken :mrgreen:

And so that’s the way it was in 1992. Springsteen would only record sporadically in 1993 and 1994 and, in fact, he would go through a long period where he didn’t record an album at all. He would, though, release an album in 1995, an album that would be favorably compared to Nebraska which makes me anticipate listening to the album even more. We need to review a few songs that were also released in 1995 (well, four of them actually- one was released in 1994. So let’s get on with it, shall we?


[h=1]BRUCE SPRINGSTEEN’S GREATEST HITS[/h]





*Released*: 1995
*Label:* Columbia:


I’m not going to rate or review the album as it is essentially a compilation album,  but there are five tracks that had not been on an album before including the very important Streets of Philadelphia which had been released the year before, and four new songs.

So with that, here we go 






*Streets of Philadelphia*: This track was written specifically for the movie, Philadelphia. People may be familiar with the film as it dealt with a lawyer who was diagnosed with AIDS. It’s a powerful movie and this is a powerful song.  Starting off with the lyrics, _I was bruised and battered_, you don’t necessarily have think this is about AIDS as you can be bruised and battered psychologically as well as physically. This song would win, deservedly, several awards, including an Oscar for best original song.






*Secret Garden*: This song too ended up on a movie soundtrack. Unfortunately, the movie was Jerry MacGuire and it has all the qualities you would expect in a Hollywood-hyped, Tom Cruise movie. Needless to say, this isn’t about AIDS. You had me at, well, you didn’t have me.






*Murder Incorporated*: This was originally an outtake off Born in the USA.  This is a searing song about life on a city street with the emphasis on the homicide rate in particular. And, yes, the E-Street band is back and this is one of the strongest Springsteen tracks in years.  I only wish this had been on a real album because this would have been a favorite track for sure.

*Blood Brothers*: And the E-Street band is here as well.  And it, strangely enough, is about the E-Street band itself. It’s quite sentimental in its tone. It’s affectionate as he has to let go of the past yet without ever forgetting his old friends. It’s a sweet song to be sure.  Another version was released on the Blood Brothers EP a year later. This version is kind of Dylanesque in its own way.

*This Hard Land*: Another reject from Born in the USA, you have to wonder why Springsteen didn’t make the album a two record set judging from this ode about friendship and Murder Incorporated. This sounds like classic E- Street band circa Born To Run. It’s vintage Springsteen folk-rock, and makes me sad this couldn’t have been on a legitimate album instead of a greatest hits package.



*MUSTY THOUGHTS*:  I have to wonder why Springsteen couldn’t have saved the last three songs in particular. He could have even added the brilliant Streets of Philadelphia if he needed material. So he would have had four songs and the E-Streets only would have had to come up with maybe six more. But, it is what it is.  I won’t give these tracks an overall rating (Secret Garden certainly hurts it), but there are four five flower tracks here with maybe one meh. No, these wouldn’t have fit on the Ghost of Tom Joad  but maybe they could have expanded the Blood Brothers EP? Just a thought 


Okay, so that’s it for this installment. We will be doing The Ghost of Tom Joad next and it promises to be an interesting listen. So see you then


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## Deleted member 56686 (Dec 30, 2019)

*THE GHOST OF TOM JOAD*








*Released*: 1995
*Producer*:  Bruce Springsteen, Chuck Plotkin
*Label*: Columbia


This was Springsteen’s second foray into pure folk and, like many of his albums, had a theme to it. Tom Joad is a character from John Steinbeck’s Grapes of Wrath, but the theme itself centers around the economic conditions involving the US and Mexico. He touches on immigration, on poverty in the Southwest and yet, as in Springsteen fashion, there is also a great dignity within these characters.

The album did very well among critics, not surprisingly and I, myself, have high hopes for it. It didn’t do as well commercially as other Springsteen efforts despite winning yet another Grammy, this time for best folk album. But by 1995, I’m sure Springsteen didn’t really need the bucks anyway. He also preferred quality over commercialism at his best and he wasn’t going to kow tow on something this personal.

So let us review and see if The Boss can earn his third five flower special. 



*Best Tracks*: The Ghost of Tom Joad, Youngstown

*Weakest Tracks*: Can’t find one.








*The Ghost of Tom Joad*: No Home No Job No Peace No Rest. Thus is the theme of the song and the album that exposes the flaws of American Capitalism. It’s good when you’re on the winning end of it, but not for so many others.  This sounds like something straight out of the Great Depression. It’s a solemn track. There’s a Woody Guthrie vibe on this one.


*Straight Time*: This dark tale is about a guy who has a hard time coping with life as a free man. You see, he was released from prison in ‘86’. He has a job and a family but yet feels unfulfilled and yearns for the criminal life again.

*Highway 29*: Another folk song about a man on the lam. Springsteen writes great songs of desperation. So far, this album is everything it’s supposed to be cracked up to be.  Like the first two tracks, there is a dark subtlety to it.

*Youngstown*:  If the album is supposed to chronicle the problems in the Southwest, it takes a sharp left turn and explores the struggling rust belt in Ohio. There is a western vibe to this. You know what, I’m wondering if this album may even be better than Nebraska.

*Sinaloa Cowboys*: And we return to the southwest where two Mexican brothers try to find work in the US only to cook meth for a living. A tragic tale to be sure.

*The Line*: Sort of a tale of two friends, one who was ex-military and now with the border patrol and the other who went into drug smuggling.  Another quiet folk song and fits in well with the album, needless to say.  A tragic tale. Haven't found a bad song yet on this album.

*Balboa Park*: And if you don’t like ending up a drug smuggler, how about going into child prostitution? Like the previous two songs, Springsteen weaves a tale of tragic desperation.  Springsteen is singing of so much sadness on this album that I don’t think I would recommend this to someone who prefers more happier music.

*Dry Lightning*: The tragedies take a back seat on this track as this is more about a loner who has an encounter with a dancer. It’s not a negative song from what I see, but you do sense the protagonist wishes she was still around.

*The New Timer*: This is about a transient who meets up with an old timer who has been riding the trains since the Great Depression.  He also laments leaving his family in Pennsylvania.  Very dark folk by nature.

*Across the Border*: Vulture seems to suggest this could be one of those double meaning songs. Is the protagonist talking about crossing the Rio Grande as mentioned in one line, or is he talking about the big jump in the sky?  I think the thing about Springsteen, is that he is so much more powerful when he is more stripped down, at least up to this point in his career. I like the Mexican sounding violins.

*Galveston Bay*: Springsteen weaves a story of a Vietnamese immigrant who fought side by side with the Americans in Vietnam and comes to America only to experience the blind racism that only the KKK can deliver. At least this one doesn’t end in tragedy as Billy, the racist in this tale, ends up doing the right thing by not doing the wrong thing.

*My Best Was Never Good Enough*: Springsteen does spoken word here.  Lyrically, he sounds a little like early Dylan, ripping off slogans from Forrest Gump for example.  This is a quick song with some clever lines. It probably signals the frustration of someone who tries so hard and yet falls short, sort of the theme of the album in general.


*OVERALL EFFECT*:  So, about halfway through the album, I was thinking, yes, this could be a five flower special. At some points I found this album even better than Nebraska. Alas, while there are no tracks I could truly call weak.  I also can’t find a track with the power of the first four tracks really. I do think Springsteen has a weird love affair with the synthesizer, something Nebraska, thankfully, lacks. The good news is that it doesn’t take away from the songs here like it seems to do on other albums.  So, to make a long story short, no, it’s not as good as Nebraska or Born To Run. It is, nonetheless though, one of Springsteen’s better albums and certainly his best since Nebraska. And, yes, I enjoyed listening to this album very much and I will be listening to it again.


*MUSTY’S RATING*:  1/2

The Word has Spoken :mrgreen:


So, after some hits and misses, Springsteen hits one out of the park, or at least comes close anyway.  So why won’t he record a new album for another seven years? Maybe someone has the answer because I can’t find one so far. Anyway, there are a few things I can cover during those years including the Blood Brothers EP from 1996 and a couple collections of unreleased material which I won’t be covering song by song but I will certainly listen to. So stay tuned while we cover the period between The Ghost of Tom Joad and The Rising. 


[h=1][/h]


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## Deleted member 56686 (Jan 1, 2020)

*in between a couple albums*






Believe it or not, there would be a seven year gap between new releases between 1995 and 2002.  That isn’t to say Springsteen didn’t stay active for he played live regularly during this period, the highlight being the Reunion tour with his E- Street Band. He wouldn’t make the mistake of breaking these guys up again.

There wasn’t any new material for seven years but there were many tracks, including demos as well as original material that had been unreleased, and Springsteen and company set out to finally let them see the light of day.

So I won’t be reviewing song by song here, rather, I’ll make notes on the three releases, two of which are of outtakes, as I listen to them. So with that, here are my takes. 








*Blood Brothers (EP)*: From 1996, the title track is an alternate version  and maybe a little better than the Greatest Hits version, which I liked a lot. There are also two original tracks, High Hopes, which is a soulful Bo Diddley romp, and Without You, another fun sounding E-Street romp. Add a great live rendition of Murder Incorporated and a string version of Secret Garden, which is much better than the Greatest hits version (I wonder if this is the Jerry McGuire version? Smart move if it was).  Anyway if I’m rating this, I’d give it  :flower: :flower: :flower: :flower: :flower:






*Tracks*: This was a set of unreleased recordings, sixty-six in all. It starts off with 1972 demos for his Columbia audition. You could say the first few tracks could have been the Pre-Nebraska album. I especially liked the opening track, Mary, Queen of Arkansas (why did Vulture hate this song so much?).

It goes on to outtakes from the early albums then into the Darkness and River outtakes. After a bunch of Born in the USA outtakes, the four disc collection covers the later albums Tunnel of Love and Human Touch with a couple live performances in between and an odd take from Born To Run or Nebraska.

So, basically, I really like the demos and the 1973 outtakes.  Zero and Blind Terry is a highlight for me.  Another highlight is Iceman from the Darkness sessions. Actually, this should have been released in its own right. One day I might have to review this album song by song legitimately. Other tracks that really grabbed my attention are Living on the Edge of the World (The River), The Born in the USA demo (possibly meant for Nebraska- I actually like this better than the hit single version). Lucky Man rates as a nice  bluesy Tunnel of Love outtake. Then there is the Human Touch outtake, Gave It a Name which was re-recorded in 1998 for this set. Overall this is a nice collection of songs and it is certainly a good history piece for Springsteen buffs, even if it is a little Human Touch heavy at the end. 






*18 Tracks*: And this is the abridged version of tracks for the not as rabid Springsteen fans who didn’t want to pay for a four disc set. There were three previously unreleased tracks here, I guess in hopes of attracting the rabid Springsteen fans as well. It didn’t work as it only got to No.64 on the album charts.  As for the three new tracks, the Promise is easily the best of the three while The Fever, from 1973, and Trouble River are, well. Meh. So with that. I’ll say  :neutral: :neutral: ½


So now Springsteen was back in New Jersey, feeling that his California days were something of a failure. He was happier and he was touring with his old buddies again even if he was staying out of the studio. It may be possible that Springsteen was happy with the accomplishments of his career and was happy to tour and sit on his laurels, but sometimes things happen that can inspire you, for good or bad reasons. Stay tuned for the next installment as we cover an album that was mostly inspired by one of the most tragic events in history, and it would still be fresh in our minds.


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## Deleted member 56686 (Jan 3, 2020)

*THE RISING*








*Released*: 2002
*Producer*:  Brendan O’ Brien
*Label*: Columbia


The early 2000’s seemed to be an idyllic time for Springsteen. He and wife Patti were raising their three children in North New Jersey. He had a few songs written up and he could still be quite topical such as the angry 41 shots about a police shooting in 1999. Still, there had been no recording plans and he hadn’t released an album in six years at this point in 2001.

Then, the shock heard around the world happen and it affected nearby Rumson, New Jersey very deeply. Two hijacked planes crashed into the World Trade Center and a new normal gripped the US in ways heretofore unseen.

And people, including neighbors, would see Springsteen on the street and yell out to him, “Bruce, we need ya.” (Two Hearts: The Story by Dave Marsh).

And he heard the call. He was soon back in the studio with the E-Street band and they would record perhaps his most acclaimed album since Born To Run.  Jon Landau hooked Springsteen up with record producer Brendan O’Brien, famous for producing alternative bands like Pearl Jam. Clearly the theme of the album would be surrounding the aftermath of 9/11 though it wouldn’t be obvious until late in the album with the title track. Even My City of Ruins had actually been written before 9/11 and yet, no one doubts what he is talking about.  Indeed, even as Springsteen recounts the pain and tragedy that befell so many people on that day, it is ultimately an album of hope that only a Bruce Springsteen could inspire.

And so, with that, here is my review.



*Best Tracks*: Waitin’ On a Sunny Day, Countin’ On a Miracle, Empty Sky, My City of Ruins

*Weakest Tracks*: Let’s Be Friends (Skin To Skin), The Fuse






*Lonesome Day*: Or, otherwise known as the day after. It starts out as a typical Springsteen love song but as the song continues, you can sense the anger as to what had happened on such a grand scale. Revenge is mentioned and then, maybe a sense that it will be alright in the end. It’s certainly a heartfelt beginning to what figures to be a rather powerful album

*Into the Fire*: This is Springsteen’s tribute to the police and firefighters who risked, and in some cases, lost their lives, to the tragedy that was 9/11. It was the first song he wrote in response to 9/11. There is a country feel to this track and, like the opening track, has a lot of feeling to it.






*Waiting On a Sunny Day*: Springsteen called this one of his poppier songs and he, no doubt, wanted to break a little of the sadness that the first two tracks reflected. I always wondered if he was referring to 9/11 itself as it was a perfect day, meteorologically speaking, all up and down the East Coast and certainly in New York.  It sounds like vintage Springsteen. I kind of like this.

*Nothing Man*: This was originally written in 1994. Originally meant as a Vietnam soldier’s lament, it was reworked to reflect the survivor’s guilt a rescue worker in general might have felt after seeing so many of their brethren die.  It’s a medium slow-paced song and, not surprisingly, rather sad.

*Countin’ On a Miracle*: Lyrically this seems like a sad lament as he talks about fairytales never coming true. And yet, he doesn’t want to lose faith either.  Another nice Springsteen rocker and surprisingly a bit melodic by Springsteen standards. This is a five flower album so far. And Clemons is really on fire here.

*Empty Sky*: This is Lonesome Day in the voice of a widower who sings about the empty sky where the towers once stood.  It talks about the searing pain of loss and the need for revenge. Another strong song with a bit of a jazzy piano feel to me. Another great track.

*Worlds Apart*: Now we enter a love story between a Western soldier and a Middle Eastern woman in a song that pretty much asks if we can all get along.  This songs features a Middle Eastern musical backing with Qawwali singers doing background vocals.  Another strong track.

*Let’s Be Friends (Skin To Skin)*: I guess this is supposed to be Worlds Apart part two. But looking at the lyrics, I have to agree with Vulture; it does seem kind of creepy given the concept of the album.

*Further On (Up the Road)*: There’s no ambiguity with this one. This is about war and what one goes through on a daily basis. Even here there is hope that one will be home again.  Another great Springsteen rocker.

*The Fuse*: I’m not sure about the meaning of this track. Maybe it’s a veiled reference to the Fourth of July in a patriotic sense.  It seems to drone a little here in my opinion. Like Let’s Be Friends, not really terrible, but maybe the weakest song on the album.

*Mary’s Place*: This song is said to have been influenced by Sam Cooke’s Meet Me at Mary’s Place.  This is about someone who is seeking different religions to explain why bad things happen to good people essentially.  The lyrics are in a backdrop of a happy soulful arrangement which gives the song a tinge of hope.

*You’re Missing*: I think the theme of this song is obvious.  Somebody’s loved one hasn’t returned home from work and this time it ain’t a wife and kids in Baltimore, Jack.  Something obvious has happened. The mood reminds me a little of Streets of Philadelphia. Of course, this is a sad song and one can imagine the anguish one must have felt not knowing if their loved one was okay.






*The Rising*: This is perhaps the strongest of the songs saluting the rescue workers. This time he is imagining being a firefighter in one of the burning towers. It’s a song of tragedy and yet it’s also a song of comfort for those left behind.

*Paradise*: This is a song with three vignettes, the first one being that of a female suicide bomber, the second one about someone in Virginia who assumedly lost a loved one. The theme being that there really is no such thing as paradise for either. You wonder why people believe that murder will somehow get you to heaven, but I guess that’s for a political forum, not here.

*My City of Ruins*: This was actually written about the decaying depression that was gripping Asbury Park in 2000, but, after 9/11, took a whole different meeting.  His mantra of Come on, rise up, has become one of the most remembered lyrics in rock history. It ends the album with a sense of great hope, something that was badly needed for quite a while in 2001-2002. Springsteen would revive this song after future tragedies such as Hurricane Katrina and even the death of his friend, Clarence Clemons. This is a song that can fit in with any period of despair and give one hope. One of Springsteen’s best songs ever.



*OVERALL EFFECT*:  Okay, so remember when I said that even the greatest of albums has, well, a When I’m 64? Okay, so let’s get that out the way.

Sometimes the best albums are made when something affects an artist so personally, he/she/they have to express their feelings in some way. Few people have been able to this as well as Bruce Springsteen and as far as 9/11 goes, nobody, and I mean nobody, did it as well as he did on this album. Paul McCartney’s Freedom, written for the America: A Tribute To Heroes concert, seems rather jingoistic in nature, and other songs associated with 9/11 (Live’s Overcome, Enya’s Only Time) have nothing to do with the tragedy, having been released earlier and were used more symbolically in various videos. Springsteen’s album is relevant and to the point and has so much emotion that it has to be the most personal of all his albums.  As a result, the only Springsteen album I’d rate as better is Nebraska. And as such…


*MUSTY’S RATING*:  :flower: :flower: :flower: :flower: :flower:

The Word has Spoken :mrgreen:



So, Bruce Springsteen has made what is perhaps the last of his various comebacks. There won’t be another comeback for one simple reason; there won’t be anything to come back to as he will, from here on, stay within the public conscience.

And he’s about to work on his third acoustic album and you know how much I like Springsteen when he goes acoustic.  So, stay tuned for the next installment as we review the next album in the queue, Devils & Dust.


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## EntrepreneurRideAlong (Jan 3, 2020)

Good read, thanks for sharing. Big fan of the Boss


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## Deleted member 56686 (Jan 6, 2020)

*DEVILS & DUSt*








*Released*: 2005
*Producer*:  Brendan O’Brien
*Label*: Columbia


After two tours and a well received album with the E-Street band, Springsteen decided he would go it alone again, though this time the break would be intentionally temporary. After all, bandmates like to try to do a solo album once in a while too.

Now, many of the tracks on Devils & Dust had been written, or even recorded, years before the final release. Some in fact had been recorded around 1997-1998 during the seven year recording hiatus. It isn’t fully acoustic as he does have help from E- Street members Danny Federici, Patti Scailfa, and Soozie Tyrell as well as with a few session pros. Again, most of the songs were reworked versions of songs he had written years ago, except for the title track itself, which Springsteen wrote on the backdrop of the Iraq War, a war he opposed. But more on that later.

In the meantime, here is my take on the songs.



*Best Tracks*: Devils & Dust, All the Way Home, The Hitter

*Weakest Tracks*: Silver Palomino, All I’m Thinking About.








*Devils & Dust*: I’m sure it’s established that I am something of a pacifist. So it isn’t surprising that Springsteen sings in the voice of a young soldier having to deal with war in Iraq. He supports this soldier as we should, but we also must question, why do have the need to put our young men in harm’s way to begin with? Why do we have to kill people because one leader doesn’t like another? If we, as a people, learned to actually not follow leaders and watch the parking meters instead (yeah, a Bob Dylan line), hoo boy.






*All the Way Home*: This was a song he originally gave to Southside Johnny and the Asbury Jukes.  Southside’s Johnny’s version was more of an upbeat soul while Springsteen did it more low-key. It’s hardly a bore though and it has a nice countryish fast pace. I really like this track actually.

*Reno*: This is about a fictional solicitation with a call girl apparently.  A slow paced acoustic set with a nice slide guitar. Pretty impressive album so far.

*Long Time Comin’*: I sense this wasn’t one of Springsteen’s more personal tunes. He talks about a father, but it doesn’t actually sound like his. And the verse where he has a family is a typical Springsteen theme.  This also sound like a more typical Springsteen song, not really that acoustic.  Probably the weakest track so far but really not bad.

*Black Cowboys*: I’m guessing Springsteen is writing about a young black boy trying to escape the environment of his poor neighborhood. One wonders if hopping a train to Oklahoma is a fantasy or is it real? Somber, maybe a little too much synth.

*Maria’s Bed*: Kind of a countrified working class tune. Pleasant little tune, sounds like something Bob Dylan might have done in terms of arrangement. Nice mandolin.

*Silver Palomino*: This one sounds like it could have come of The Ghost of Tom Joad. It certainly has a southwestern theme to it. Musically though, it sounds more like he’s going through the motions, but maybe that’s just me.

*Jesus Was An Only Son*: Springsteen said he wrote this imagining if Jesus was somebody’s son (as opposed to God I assume). Nothing controversial about the song itself as he recounts Jesus walking with his mother Mary, possibly after the crucifixion. Okay, so maybe it is controversial.  Another Dylan vibe here with the organ.

*Leah*: Basically, a love song with some help from Mark Pender of the Asbury Jukes. A nice quiet song. Not a bad melody.

*The Hitter*: A story of a boxer it seems, done in a folk styled fashion, of course.  Another quiet song. I think the subdued approach adds to a riveting and rather sad story. Like this track.

*All I’m Thinkin’ About*: Basically, a lovers lament story, I doubt if Springsteen is writing anything topical or personal here.  Honestly, I think this would have worked better with the E-Street band. This is more of a rock n roll song than a folk song. Nice try though.

*Matamoros Banks*: This sounds like a Tom Joad outtake as it talks about the risks of crossing the border.  Another pensive folk song and a nice way to end the album.







*OVERALL EFFECT*: So, basically, the album starts out like gangbusters. I really love the first three tracks really though I only mention the first two on my favorites. It tails off after that though and I find it rather uneven in quality. I do wonder if maybe he should have held some of the tracks for a rock album with the E-Street Band. In any event, I don’t think the set had the same power of Nebraska or the Ghost of Tom Joan. Having said that, you can sense Springsteen’s passion for traditional folk.

*MUSTY’S RATING*:

  

The Word has Spoken :mrgreen:

And we’ll certainly be getting a taste on just how much The Boss likes traditional folk for he’ll be tackling the great Pete Seeger next. None of these songs will have been written by Springsteen (or even Seeger for that matter), but one senses this will be a rather affectionate slate of songs. Anyhow, stay tuned as we cover The Seeger Sessions in the next installment.


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## Deleted member 56686 (Jan 10, 2020)

*WE SHALL OVERCOME: THE SEEGER SESSIONS*







This project came about from an off shoot recording of Springsteen’s for a Pete Seeger tribute album. Intrigued, Springsteen studied the work of Pete Seeger over the years.  He became even more interested when his ten year old daughter found Seeger’s music fun.  So in 2006, Springsteen assembled a group of little known musicians from New York and New Jersey, courtesy of E-Street band member Soozie Tyrell, and the result is a very affectionate album saluting the songs Pete Seeger helped to make famous.

It should be noted that Springsteen, nor Pete Seeger, wrote any of these songs. The majority of the tracks are traditional songs that Seeger had in his own repertoire. I can also say the only song I’ve heard on the album is Old Dan Tucker which got some heavy airplay on WRNR at the time. Does the album match up to that fun track? Well, let’s see.


*Released*:  2006
*Producer*:  Bruce Springsteen, Jon Landau
*Label*: Columbia



*Best Tracks*: Old Dan Tucker, Oh Mary Don’t You Weep, Eyes on the Prize (love the jazz breaks)

*Weakest Tracks*: Shenadoah, Pay Me My Money Down







*Old Dan Tucker*: This is said to have been published by Dan Emmett, who also authored Dixie.  Possibly a slave song, this was a popular Civil War era ditty that was sang in both northern and southern campfires https://www.civilwarheritagetrails.org/civil-war-music/old-dan-tucker.html

Again, this is the one song I am familiar with and I have to say, Springsteen has a lot of fun with this one. It does have a bit of a fun countrified feel. If this was a slave song, it certainly wasn’t a depressing one.  This sounds like something Springsteen could have gotten away with in his more conventional recordings.

*Jesse James*: Written in the late nineteenth century, it’s essentially a quick bio of the infamous outlaw.  First recorded in 1919, it has been covered by a variety of artists including The Kingston Trio, Jackson C Frank, Van Morrison, and Johnny Cash. Springsteen seems to like doing these songs so far like a hootenanny of sorts with backup vocals and the like. Not a bad track.

*Mrs. McGrath*: This is an old Irish folk song first made famous by Burl Ives. The Clancy Brothers also recorded a version in 1966. This song was also said to have been popular during the American Civil War.  I have to say, I didn’t like how the song began but it kind of grows on you. It does have a nice Irish feel to it and Springsteen does it justice.

*Oh Mary Don’t You Weep*: This is an old slave spiritual. It also became popular during the Civil Rights movement which is where I assume Pete Seeger comes in.  The Springsteen version starts off like an old twenties jazz tune and it kind of swings in the style of the Duchess and the Duke and that type of sound in general. I really like this track.

*John Henry*: This is a well known folk song that I have actually heard though not by Pete Seeger or Springsteen until now. I heard Seeger’s version last night and he does a great rendition to be sure.  Springsteen doesn’t impress me as much though. Maybe it’s a little too much country for me as this is more of a blues folk song to me. He does it affectionately though.

*Erie Canal*: This folk standard was written by Thomas S. Allen in 1905 after the Erie Canal traffic had been converted to engine power. Springsteen does a decent version of this standard folk song that I also remember from my school days.

*Jacob’s Ladder*: Another slave spiritual. Generally slaves were not allowed to talk in the field but they were allowed to sing as it seemed to help production. This was one of the folk songs that derived from the pre-civil war period.  The Springsteen version is solid but doesn’t seem to have the same power as Mary Don’t You Weep.

*My Oklahoma Home*: This was written by Sis Cunningham during the Dust Bowl era. Cunningham was a follower of socialist Eugene Debs so I think it’s safe to say she could get pretty political, as could Seeger of course.  As far as Springsteen goes, it’s a decent country song, but Seeger does it better.

*Eyes On the Prize*: This song became famous as an anthem of the Civil Rights movement. This was also the theme song of the PBS series Eyes On the Prize. This definitely works as a gospel staple and neither Seeger or Springsteen can top the version I heard on PBS.  Do like the jazz breaks though.

*Shenandoah*: This folk standard was popular among fur traders in the early nineteenth century. It later became popular on ships later in the century.  This isn’t a favorite. Sounds a little too somber for my tastes.

*Pay Me My Money Down*: This old slave song was made popular by the Weavers in 1955. It also was recorded by the Kingston Trio. The first single off the album. I heard the Weavers’ version on Youtube and I have to say that Springsteen can’t really do their version justice, though I’m sure he tried.

*We Shall Overcome*: Of course this is one of Seeger’s most famous songs and yes, I have heard his version as well as Joan Baez’s. This was perhaps the most popular song in the civil rights movement. Springsteen can’t equal the spirit of either Seeger or Baez, but I’m not sure if anybody could. This is a tough song to cover right after those two.

*Froggie Went a Courtin*: This is a sixteenth century English folk song.  Most children are probably familiar with the story of Froggie courting Miss Mouse. Not a bad rendition, though I think I’m so used to the old nursery rhyme song from my childhood.




*OVERALL EFFECT*: So basically, this boils down as a affectionate and touching tribute to one of the great folk artists of our time. Seeger was someone who was willing to fight, and sometimes pay for his beliefs. He suffered through the red scare and didn’t get much work for the better part of a decade. When he again reached prominence as a folk purist and protest singer, he suffered through more censorship issues by way of TV even though he had his own show for a brief time on a local New York station. His Waist Deep in the Big Muddy, an anti-war song, got both he and the Smothers Brothers in trouble with the powers that be at CBS (this was at the height of the Vietnam War). Anyway, I think Springsteen took note of that when he embarked on this project and the songs are obviously done with love. Seeger is said to have been impressed with this album and, while I think Springsteen has done better, it certainly comes off as above average fare. I love the concept and the selections, for the most part, are pretty good, so…

*MUSTY’S RATING*: 

The Word has Spoken :mrgreen:


So we seem to be in a relatively active period for Springsteen recording wise.  The next album won’t be easy to record as certain E-Street members have other commitments (notably Max Weinburg who was with Conan O’Brien), but they will manage to get it together with some sleigh of hands. Anyway, stay tuned as we cover Magic in the next installment.


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## Deleted member 56686 (Jan 13, 2020)

*MAGIC*







After going it alone for another five years with a folk album and the Pete Segger tribute, Springsteen got his old bandmates together for another go round. 2007 was an interesting time, politically speaking, and much of the material on this album would be critical of Bush era policies.  The result was what has been described as the last Springsteen album to receive a large amount of critical acclaim, not that he needed it by now.  By 2007, Springsteen had long paid his dues and was certainly considered one of the grand old men of rock, a status only a few have truly attained. In a sense, he was as equal as the person he has been most compared to, Bob Dylan.

I haven’t heard much of this album outside of the searing opening track and I’m looking forward to listening to what the critics were raving about.  It will be political to be sure, no doubt. And, being a frustrated folkie (even though this is obviously a rock n roll album), this should be fun to review.

And with that…


*Released*: 2007
*Producer*:  Brendan O’Brien
*Label*: Columbia



*Best Tracks*: Radio Nowhere, You Own Worst Enemy, Magic

*Weakest Tracks*: Devil’s Arcade








*Radio Nowhere*: This is a song that got heavy airplay on my local modern (Indie?) rock station.  Springsteen himself called it an end of the world scenario. I guess it’s sort of like that Twilight Zone episode where the astronaut is all alone in an abandoned town. Anyway, it’s a nice rocker and a great way to start off the album.

*You’ll Be Comin’ Down*: At first this appears to be a jilted lover’s lament, but it has also been suggested that this is a metaphor to the jingoism that had accompanied the Iraq War. It’s safe to say the Boss wasn’t a fan of that war. A solid medium beat. This is going to be a rock album obviously at this point.

*Livin’ in the Future*: Well this was prophetic, or was it? Springsteen was talking about the deception that the American public had been exposed to in general. It reminds me of one of my own sayings, would you rather be safe or free? In 2007, it seemed impossible to be able to have both.  Springsteen certainly gives us food for thought.

*Your Own Worst Enemy*: I’m not sure where Springsteen was going with this. Was the worst enemy Bin Laden, was it Saddam Hussein, was it yourself? He clearly is singing about the insecurity we were feeling at the time.  A nice string arrangement. The lyrics seem well thought out here.

*Gypsy Biker*: The Gypsy Biker’s coming home from Iraq, but things aren’t what they seemed before. Springsteen sings about corruption and divisions in this powerful tune.  Some nice guitar work here and I love the harmonica arrangement. No weak songs on the album so far.






*Girls in Their Summer Clothes*: This one is vintage Springsteen with a bit of a Beach Boys vibe. It’s a simple song about better times really.  A nice piece of pop actually.

*I’ll Work For Your Love*: This song has some religious overtones, probably Catholic as I think he is referring to the Mother Mary.  Musically, it’s pretty straightforward Springsteeen. Still no clinkers on this album.

*Magic*: Springsteen sings about a magician that gets a little more sinister with each verse, but it’s really a metaphor for deception in the political arena. Springsteen seemed influenced by Orwell according to genius.com  https://genius.com/Bruce-springsteen-magic-lyrics.   A certain moodiness to this track. I think this is a favorite track in fact.

*Last To Die*: Last To Die is from a quote by John Kerry after he returned from Vietnam and before he became a Senator.  There is a juxtaposition between Vietnam circa 1971 (Kerry’s speech to Congress) and 2007 with the increasing body count in Iraq. Needless to say, this is a powerful track and the hard driving beat, reminiscent of Radio Nowhere, helps to accentuate that.

*Long Walk Home*: Another homecoming song, this time from the perspective of a soldier who no longer recognizes his town.  Musically, the highlight is another great Clarence Clemons solo. Another solid song.

*Devil’s Arcade*: The third song that directly addresses Iraq. Springsteen again questions the reasons we were there to begin with as I think he is now lamenting the fate of a dead soldier.  Strangely enough, I have to rate this as the weakest song on the album, but it isn’t really weak at all. It’s obviously heartfelt, something that has always been Springsteen’s strength.

*Terry’s Song*: This was a hidden track that Springsteen recorded as a tribute to his late personal assistant, Terry Magovern. It reminds me the sadness that is about to befall Springsteen as it does for all of us as we get older, as soon he will be losing members of the E-Street band as well.  A sweet tribute basically.






*OVERALL EFFECT*: So whether this is truly the last of Springsteen’s great albums (so far), well, I guess that remains to be seen. I will say that this is certainly a near great album at the very least. Even though I rated Devil’s Arcade as the weakest track, it really isn’t weak at all. It just is compared to the other tracks. The album overall seems to have a lot of anger in it and some great music can be created in anger. This album is no exception.  It compares favorably to The Rising in my opinion and comes close to the five flower albums in his collection. Not quite a five flower but…


*MUSTY’S RATING*:     1/2

The Word has Spoken :mrgreen:


So Springsteen has another acclaimed album under his belt but is there room for more? Even by the release of Magic he was writing songs for his next album, which we’ll be reviewing in the next installment. It promises to be a bittersweet one, but we’ll get to that then. For now, though, I’ll just say see you next time


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## Deleted member 56686 (Jan 15, 2020)

*WORKING ON A DREAM*








After the depressing, but critically acclaimed Magic, Springsteen began work on a more positive album, one more based on hope than of despair. He has a pattern of lamenting the problems surrounding us then turning around to inspire us to look to our better angels, sometimes even on the same album. Working on a Dream is no exception.

But there would be some sadness surrounding the album. During the recording period, long time E-Street band member Danny Federici passed away, and that deeply affected Springsteen and the band overall. Federici’s son, Jason, would take Danny’s place for the remainder of the album, but Springsteen would always leave an empty seat at the keyboard where Federici would have played during live shows.

The album would garner relatively mixed reviews. Rolling Stone Magazine compared the album to Born To Run, while others weren’t so impressed. Will I be impressed? Well, I guess we’ll have to listen to find out. 


*Released*:  2009
*Producer*:  Brendan O’Brien
*Label*: Columbia



*Best Tracks*: Outlaw Pete, Working on a Dream, Surprise Surprise

*Weakest Tracks*: This Life, Life Itself



*Outlaw Pete*: Needless to say, Springsteen is getting away from politics here for a moment and is weaving a story about an outlaw in the Old West.  He would even write a book about it. This is something of an eight minute epic and it shapes up to be one of the better songs on the album.






*My Lucky Day*: Basically, this is nothing more than a love song, assumedly to Patti. The melody doesn’t sound very original to me. Not a terrible song but pales compared to the opening track.  Clemons does a solid sax solo.






*Working on a Dream*: A positive statement, this is the title track (all of his albums are named after a track if you’ve noticed) as well as the first single from the album.  A nice soulful piece.

*Queen of the Supermarket*: I think Springsteen got the McCartney silly love songs bug here. He wrote this about a Whole Foods in New Jersey, don’t ask me.  The arrangement is fair at least so if the lyrics are silly, the music isn’t at least.







*What Love Can Do*: Love in the time of Bush meditation is how Springsteen describes this song.  This has a nice folk rock vibe to it. I kind of like this.

*This Life*: Vulture.com seems to be mentioning Brian Wilson a lot when it comes to this album. This track is no exception https://www.vulture.com/2016/06/every-bruce-springsteen-song-ranked.html. Yeah, I have to agree. Bruce Springsteen may love Brian Wilson. I love Brian Wilson, but Springsteen is not the Beach Boys.

*Good Eye*: Not one of Springsteen’s best lyrically, but it does have a nice blues vibe to it.  It has a hard driving harmonica and everything.

*Tomorrow Never Knows*: This has nothing to do with the Tibetan Book of the Dead obviously, this is rather more in the vein of Lennon’s Grow Old With Me.  A nice little country-rock tune. Kind of a nice love song really.

*Life Itself*: A song about one’s own mortality essentially, something Springsteen was getting familiar with now that he was late in his fifties. I think Springsteen is trying to channel the Byrds circa Fifth Dimension. I’m not sure if that really works.

*Kingdom of Days*: Essentially, another love song to his wife, Patti. Basically a pretty straightforward folk-rock ballad. Not terrible.

*Surprise Surprise*: Apparently, Springsteen always wanted to write a Raspberries song. He never struck me as much of a power pop rocker, but whatever. It does have a nice sixties feel to it however. I have to admit I kind of like this one.

*The Last Carnival*: This was written for Danny Federici who, by then, had passed away. The lyrics are certainly heartfelt. No one was with Springsteen longer than Federici so this is obviously a very personal tribute.  It’s mostly acoustic and obviously deep in thought.






*The Wrestler*: A bonus track, Springsteen wrote this for friend Mickey Rourke, to be used in his Oscar winning film, The Wrestler. It won Springsteen both a Grammy and a Golden Globe.  It’s a vintage Springsteen ballad and I can see why it got the accolades it received.




*OVERALL EFFECT*: So, yes, it is a bit of a come down from Magic, but it isn’t without its gems.  I kind of wish it could have continued the momentum after Outlaw Pete and you wonder if maybe Springsteen had considered another acoustic set. As it is, the album has something of a fair quality. It’s also sad in a way as this was the first of two albums where he would lose a member of his band to death. He also said goodbye to perhaps his most successful producer in Brendan O’Brien, who had produced the last four albums starting with The Rising. So basically, it’s a decent album though maybe Springsteen was trying different sounds, especially with the Beach Boys, just a little too much. At least we know how much respect he had for the old artists, especially said Beach Boys, The Byrds, and The Raspberries.


*MUSTY’S RATING*:  

And thus ends the Brendan O’Brien era. A new era will begin with Ron Aniello but by now, Springsteen was comfortable as one of the grand old legends of rock. He would be in the sixties by the time of his next release and another E-Street band member would have fallen. So stay tuned, the next installments expects to be a little, well, sad.

The Word has Spoken :mrgreen:


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## Deleted member 56686 (Jan 17, 2020)

*WRECKING BALL*








*Released*: 2012
*Producer*:  Ron Aniello, Bruce Springsteen
*Label*: Columbia


Springsteen would again be back on the political bandwagon as he would sing about economic justice in particular. Much of it, though written mostly in 2011, was greatly influenced by the economic collapse in 2008. Things had improved somewhat by 2011, when this was recorded, and I’m sure Springsteen was happy to have a President he found sympathetic in Barack Obama.  The result was a folk based album, not in the mode of Nebraska or Tom Joad as new producer Ron Aiello would add accompanying instruments, and some E-band members were used, but it would be certainly in the vein of an angry folk singer such as early Dylan or Phil Ochs.

It would also be the last album that would feature legendary saxophonist Clarence Clemons, who died of a stroke in June 2011. Springsteen was devastated by the loss of his friend and now salutes him and the late Danny Federici whenever the E-Street band gets together.

Anyway, this sounds like this could be an interesting album, so let’s see how it plays out.


*Best Tracks*: We Take Care of Our Own, Jack of All Trades, Rocky Ground

*Weakest Tracks*: Death To My Hometown







*We Take Care of Our Own*: This is essentially a Springsteen diatribe at the Bush response, or perhaps lack thereof, to Hurricane Katrina. The song itself is rather upbeat which belies the anger Springsteen is feeling on this one. Nice track.

*Easy Money*: This is perhaps a thinly veiled attack at the the Wall Street brokers. Springsteen himself would allude to the Occupy Wall Street movement, which he supported, in an interview later. This has a bit of an Irish vibe. Some nice guitar work.

*Shackled and Drawn*: An ode to the working class no doubt as Springsteen uses humor to point out the difficulties of trying to make ends meet.  Nice beat to this one in way of one of those square dance type songs.

*Jack of All Trades*: A solemn song, maybe even a little bitter, about the gap between rich and poor.  A sad song for sure. I can really feel the pain in this one, even if this is more of a political song and not necessarily affecting Springsteen personally.






*Death To My Hometown*: An Irish Celtic theme dominates this protest about the economic crisis of 2007-2008.  This sounds a little too much like an old Irish jig. Springsteen isn’t bad at it, but he still doesn’t seem to be the right messenger for this one.

*This Depression*: I guess you could call this a metaphor to what really was the Great Recession. Yet Springsteen takes this to such a personal level, talking about the protagonist’s own depression.  Some electronics, not a bad track.

*Wrecking Ball*: Springsteen originally wrote this about the demolition of Giants stadium (they still didn’t find Hoffa’s body), but it became something as a message of hope in the backdrop of the Occupy Wall Street movement.  Another Irish influenced song. This one works a bit better than Death To My Hometown.

*You’ve Got It*: Springsteen gets off the soap box here and writes a simple love song. Kind of a nice bluesy feel but nothing really special.






*Rocky Ground*: I guess this is the closet Springsteen ever came to writing a Christian rock song. I have noticed that in much of his music over the years, there has been a spiritual element to it. Something that may be a good thing in this case. I like the R&B/rap aspects to this.

*Land of Hope And Dreams*: Popular in Springsteen concerts over the years, this is another song of hope, again coming from a spiritual standpoint.  Vulture sees a link to Sister Rosetta Tharpe among others on this track. One of the last tracks to feature Clarence Clemons, whose solo was added on after his death. Nice ending with the chorus.

*We Are Alive*: After lashing out at the economic disparities early on in the album, Springsteen finishes with a message of hope. That good always triumphs over evil basically. It’s a fair track with the Irish theme that dominates the album.

*BONUS TRACKS*

*Swallowed Up (In the Belly of the Whale*): This is a bonus track, so it won’t affect my opinion on the album itself, but basically he’s back on the rich are evil kick again.  I do like the metaphor of the title though.  I can see why it missed the cut for the album, but I do kind of like the quiet, dark mood of the piece.

*American Land*: Lyrically, I like this song. It’s kind of a history lesson of the plight of the immigrants  in the late 1800s and 1900s. It wasn’t easy for a new immigrant in those days as they had to endure horrible working and living conditions and had to deal with the same bigotry some of their offspring seem to be spewing today.  Anyway, to get off my own soap box. The song plays like one of Springsteen’s Irish Jig songs with accent and everything. Bruce, sorry, but you’re not a member of the Pogues. :lol:



*OVERALL EFFECT*: So, in one sense, this is a bit too Irish for me at times, especially being that Springsteen is from New Jersey. Still, you have to give The Boss credit for venturing outside his comfort zone. The lyrics are as pointed as usual so there are no complaints there. And, basically, it’s a fairly listenable album. I do think the first side (I assume it’s the first side anyway considering it’s the post vinyl era), is a bit better than the second side overall. I guess my biggest complaint is that the album seems uneven to me. Not a bad album, but not exactly Born To Run either.


*MUSTY’S RATING*:  

The Word has Spoken :mrgreen:

So, in one way, an era has ended as two key members of the e-Street band are gone forever.  Still though, you move on.

And he will, with the rest of the band in tow. They’ll create an album of outtakes and covers in the next go round and it will garner mixed reviews. Still. After hearing the opening track live already, I’m kind of looking forward to hearing what the rest of High Hopes sounds like.

So stay tuned as we review the next to last Springsteen album (so far) in the next installment.


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## Deleted member 56686 (Jan 20, 2020)

*HIGH HOPES*







*Released*: 2014
*Producer*:  Ron Aniello, Brendan O’Brien, Bruce Springsteen
*Label*: Columbia

This is an interesting album for a couple of reasons. Firstly, this is the first album Springsteen fully recorded after the deaths of Danny Federici and Clarence Clemons though some old material featuring the two are on this album. Secondly, this is an album of all outtakes, covers, and re-recorded versions of old material. In other words, none of the songs are original recordings.  This was also where Ron Aniello comes in as the new producer as Springsteen again decided to change speeds after a fruitful decade with Brendan O’Brien.  The result would be a mixed bag that, while commercially successful, wasn’t necessarily a big hit with the critics, who as a whole, rated this as one of Springsteen’s poorer efforts.

So, I don’t know what to expect from this album as I’ve only really have heard a live version of 41 shots. If the album is anything like that, then the critics must have been drinking something. If it’s the exception to the rule, well, let’s see.

*Best Tracks*: American Skin (41 Shots), Heaven’s Wall

*Weakest Tracks*: Down in the Hole, Hunter of Invisible Game





*High Hopes*: Originally released on the 1996 Blood Brothers EP, this was re-recorded for the album.  Originally written and recorded by Tim Scott McConnell,  this has something of a Bo Diddley vibe with some seventies/eighties type of jazz pop. It’s not a bad way to open the album.

*Harry’s Place*: The first of two outtakes from The Rising sessions. I’m not really sure what Springsteen was writing here thought it may have something to do with the despondency of drug use, which would be odd since Springsteen was never known to have had a drug problem.  I can see why it was kept off the album. For one thing, it isn’t really in the theme of the 9/11 vibe on that particular album, but there are some good instrumental moments here such as in another great Clemons sax solo.






*American Skin (41 Shots*):  This is actually an older song that Springsteen wrote after the police shooting death of Amadou Diallo in 1999. He sings of what a minority has to go through when dealing with police and it reminds me of some of the documentaries I have watched about racial strife in particular. The song, which Sprinsgteen has played live since 2000 and, more recently, had dedicated it to Trayvon Martin, received quite a bit of criticism from the police. The live version is especially powerful. The studio is as well as the background vocals are eerily a little echoey. This is a favorite to be sure.

*Just Like the Fire Would*: This is a Saints cover from 1986. I haven’t heard the Saints’ version, only really having heard their classic, I’m Stranded, so I can only go by Springsteen’s version. This sounds like a pretty straightforward eighties track that sounds a little more like John Mellencamp than Bruce Springsteen. Nice trumpet solo.

*Down in the Hole*: The second of two outtakes from the Rising sessions. This was written right after 9/11 and it is a lament for a loved one that was buried under the rubble of the towers essentially.  The lyrics are strong but the synthesizers turn me off a little, even with a nice organ solo.

*Heaven’s Wall*: Springsteen seems to be trying to do some gospel here. Again this sounds a little more like eighties pop. It reminds me a little of Don Henley, strangely enough, though I have to admit getting into it as the song goes on. I ended up really liking it.

*Frankie Fell In Love*: This was something apparently influenced by when Springsteen and Van Zandt were roommates back in the day. It’s essentially a fun love song.  It’s fairly vintage Springsteen, nothing special really.

*This Is Your Sword*: Lyrically, this is kind of sounds like Onward Marching Soldiers or something.  Musically, it sounds like a nice piece of folk-rock pop. There is a Byrds vibe on this one that I kind of like.

*Hunter of Invisible Game*: This was written for a short film if I’ve read it right. Not a terrible song really, but I can’t say the slow relaxing pace excites me very much.

*The Ghost of Tom Joad*: This, of course, is a reworking of the classic track from 1995.  This is the electrified version. It isn’t bad as it was well written to begin with, but I think I like the original acoustic version better.

*The Wall*: This was written for a friend of Springsteen’s who was reported missing in Vietnam. Of course I think it’s safe to assume The Wall is referring to the Vietnam War Memorial. Lyrically, this is probably the most powerful song of the album as he takes shots at Robert McNamara and those that swore we could win the war while thousands died.  This is very somber and no doubt heartfelt.

*Dream Baby Dream*: This was originally recorded by Suicide back in 1977. Suicide was one of the pioneers of the New York punk scene. It’s certainly a respectful cover but I think I like the darker Suicide a bit better.


[h=2]AMERICAN BEAUTY EP[/h] 




There were too many tracks to fit on High Hopes so a four song EP was released. I don’t have much more information that that but we do have the songs so here goes…


*American Beauty*: Springsteen likes to call this track his Exile on E Street as this seems more like a Keith Richards tune than it does his own.  Yes, I can hear the comparisons to Richards’ solo work. It comes off a nice piece of folk-rock more than anything else though. I like this track.

*Mary Mary*: Evidentally, this whole EP is influenced by the Monkees because he rips off the main refrain from the Monkees’ Mary Mary or at least paraphrases it (Mary, Mary, where have you gone to). Of course this is a totally different song. It’s not bad but not something I’d go out of my way to listen to again.

*Hurry Sundown*: Vulture https://www.vulture.com/2016/06/every-bruce-springsteen-song-ranked.html says this is Springsteen’s take on Pleasant Valley Sunday so I guess he must have been a Monkees fan. That’s okay, because I was too in a way.  This actually sounds a little like heavy REM though I do hear a hint of Nesmith on this. Pretty nice track. Would be a favorite had it been on the album.

*Hey Blue Eyes*:  This is basically one of Springsteen’s dark political songs as Genius.com https://genius.com/Bruce-springsteen-hey-blue-eyes-lyrics puts it.  Obviously influenced by the occupation of Iraq, you can click on the link  to get their take on Abu Ghraib and its influence as well. Probably not Springsteen’s most melodic effort, but still kind of Dylanesque in its own way.




*OVERALL EFFECT*: Okay, so I’m not including the American Beauty EP here as this is more about High Hopes. Having said that,  it isn’t a bad effort overall. I like two tracks and two tracks are more meh, kind of like the main album really.

As far as High Hopes goes, no it certainly isn’t what I would call a Springsteen classic but I can’t say it totally stinks either. Overall, it’s a decent collections of songs that is quite listenable for the most part. Do I love this album, well, not really. But I do basically like it so with that…


*MUSTY’S RATING*:  

The Word has Spoken :mrgreen:



 So we’re down to just one more album, so far anyway. After a five year hiatus (Springsteen is no spring chicken anymore, you know), he’ll come back with a more country-folk type effort saluting the old Western movie industry basically. It should be a fun listen so stay tuned for the last entry in our Springsteen saga.


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## Deleted member 56686 (Jan 24, 2020)

*WESTERN STARS (AND THE END OF OUR SAGA)*









*Released*: 2019
*Producer*:  Ron Aniello
*Label*: Columbia

After a five year break, Bruce Springsteen, now seventy years young, set out to record an album that he says was influenced by Southern California pop music, naming Glen Campbell and Burt Bacharach as influences. I have to wonder if there are some Beach Boys influences as well in this context. Springsteen also directed a documentary of the same name. The theme is that of a fading B western movie star reflecting on his life essentially. Sounds pretty interesting, doesn’t it? 

The album, as is the norm with Springsteen, garnered considerable commercial success and he again would get some positive reviews.  I’ve only heard the title track so far and it certainly does encourage me. Anyway, let’s give it a spin, shall we?


*Best Tracks*: Hitch Hikin’, Western Stars

*Weakest Tracks*: There Goes My Miracle



*Hitch Hikin’*:  The album starts out with someone who, well, is hitch hiking. It’s also about the people he meets along the way.  It’s a pleasant opening with a nice orchestral arrangement. This sounds a little different than the usual Springsteen.

*The Wayfarer*: Lyrically, this isn’t unlike Hitch Hikin. One thing for sure, this won’t be an album of political diatribes. It’s similar to Hitch Hikin in terms of arrangement as well, maybe not quite as strong in my opinion, but a solid track nonetheless.

*Tucson Train*: In some ways, this may be the most Springteeneque song on the album.  Even so, this follows the western theme of this album with the same string arrangement. I imagine that can get old after a while, but so far this is a rather pleasant album.






*Western Stars*: The title track to the album. Here he is saluting the old western movie stars and it is quite affectionate in that regard. He mentions his love for the West in an interview and, having visited there myself, I’d have a hard time not agreeing with him. I really like this tune.

*Sleepy Joe’s Café*: Springsteen continues on with the theme of the album as weaves a pleasant story about a café somewhere out in the boonies I guess.  There is a slight zydeco feel to this. This is a pretty enjoyable album so far.

*Drive Fast (The Stuntman*): Basically this is the lament of a stuntman where life isn’t very easy. It moves at a medium pace and follows the story as Springsteen is weaving it.

*Chasin’ Wild Horses*: And now we go to Drive Fast, the sequel. This character seems to be trying to block his personal problems, thus the title.  It’s a slow moody piece with a nice countrified guitar in the background. No weak tracks so far on this album.

*Sundown*: No, this has nothing to do with Gordon Lightfoot.  Basically it’s just another track that is following the theme of the album.  Not a song I’d be looking for specifically but as something to listen to, it’s certain pleasant.

*Somewhere North of Nashville*: Clocking in at just under two minutes, this one weaves a tale of a failed country singer. I like Vulture’s comparison to something Faust might write.  It’s a sad song to be sure. I hear applause between each track making me wonder if these tracks are either live or it’s a studio effect (the clapping is live either way of course).

*Stones*: No doubt this is the darkest track on the album, lyrically speaking, and it’s hard to fathom if it’s political or personal, especially since Springsteen has been especially neither on this album. I hear a slight REM influence on here (Automatic For the People maybe?), but that could just be because I’m such a big REM fan.

*There Goes My Miracle*: Not the most lyrically inspiring song, I hear more of the REM vibe here, but let’s face it, Bruce Springsteen is no Michael Stipe. Probably the weakest song on the album but not a terrible song when it comes right down to it.


*Hello Sunshine*: I keep thinking of Super Furry Animals when I see this song title. It is the first single off Western Stars. It’s also one of his more optimistic pieces.  Now I’m hearing a liitle bit of Bob Lind or maybe early Nilsson here. Pleasant track to be sure.

*Moonlight Motel*: The album ends with an old Springsteen theme of remembering the past fondly, though this is in a more fictional setting than usual.  It’s a bit quiet in tone. Like the other tracks, fairly pleasant in countrified sort of way.

*Rhinestone Cowboy*:  This is a bonus track and a cover of the Glen Campbell hit. I don’t want to call this a classic because I hated Campbell’s version at the time in 1975.  This version isn’t bad though, probably because it doesn’t have the same MOR trappings the original track did. Yeah, I’d say Springsteen’s version is a bit superior.






*OVERALL EFFECT*:
So, this is a decent collection following a theme. I guess in some ways this is comparable to his actual acoustic efforts though I don’t find this one quite as strong. I do like the live tracks quite a bit. It’s themed not only in terms to the movie the songs were written for, but in terms of the musical style in general. If it wasn’t for something I just recently learned I would have to wonder if Springsteen was abandoning the E-Street sound for good as maybe he didn’t want to turn into The Rolling Stones or U2.

Having said that, this is a pleasant album overall. While I can’t rate it as highly as the critics evidently did, I did like it better than High Hopes and it certainly is a solid piece of work by the Boss. So with that…

*MUSTY’S RATING*:  1/2

The Word has Spoken :mrgreen:


And that wraps up my Reviewing Bruce Springsteen project. He hasn’t abandoned the E-Street band as of yet as they are reportedly working on a new album as we speak, well, at least according to Wiki anyway.  Anyway, I hope you enjoyed the reviews. Maybe there are some Springsteen albums you rate as your favorites. Add on to this thread about the Boss if you’d like.

As for me, stay tuned as I come up with a new artist to review. I’m oddly enough thinking about doing The Monkees and/or maybe selected Motown albums in general. Anyhow, stay tuned because I’m not done yet.


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