Bruce Springsteen
Bruce Springsteen is one of Rock's all-time greats. His career is a celebration of what Rock is all about. On record or in concert "The Boss" is among the most creative and electrifying performers. Why? As one of the best storytelling songwriters that Rock has produced, he invests his songs with raw power and emotion. As a performer, Springsteen is dynamic and energetic, with stage presence to burn.
As a New Jersey teen, Springsteen got his first guitar and starting learning Rock and Blues songs. His sister's boyfriend was in a group and that gave Springsteen the "in" he needed. From there he traveled through a series of bands before signing what turned out to be a horribly unfair management contract. But that contract, bad as it was, served as Springsteen's launching pad.
The Bruce Springsteen Band formed in '71 as a ten-piece outfit with horns. After a couple of shows the female back-up singer and some horn players were gone. Fortunately, Clarence Clemons (sax) made the cut. But soon the group was on hiatus.
After unsuccessfully wandering around California, Springsteen signed a management contract with Mike Appel's production company. Even though Appel got Springsteen an audition with legendary producer John Hammond the very next day, the contract proved disastrous. That audition led to a ten-year/ten album deal with Columbia Records. Springsteen was to get a paltry $25,000 advance per album. Also, Columbia saw Springsteen as a Folk act. Having other ideas he quickly re-formed his band. "Greetings From Asbury Park" was the first offering but it failed to sell with the single "Blinded By The Light" sinking with hardly a trace. "The Wild, The Innocent and the E Street Shuffle," despite rigorous touring, also stalled.
The early Springsteen story can not be told without Rock journalist Jon Landau. He became a friend, confidant and co-producer. Landau saw Springsteen at a Cambridge, MA, show and wrote, "I have seen Rock 'n' Roll's future - and its name is Bruce Springsteen." The song that caught Landau's ear was "Born To Run," which turned out to be Springsteen's first "hit." The song and the album of the same name established Springsteen and the E Street Band. Of course, it didn't hurt to have his mug on both Time and Newsweek in the same week. Some cried hype.
Instead of working on a follow-up Springsteen was mired in legal troubles spending most of '76 and a large chunk of '77 trying to free himself from Appel's grip. He was forced to the sidelines until the issue was settled. He also re-negotiated his Columbia deal. Meanwhile, Manfred Mann's Earth Band rode to the top of the U.S. charts with a cover of "Blinded By The Light." The Earth Band also recorded another Springsteen composition, "Spirit In The Night."
Once the management case was settled, Springsteen was free to continue his career creating "Darkness On The Edge of Town." He also launched a 109 show U.S. tour covering 86 cities.
 Bruce Springsteen |
Double album "The River" rolled out in '80 (with the classic "Hungry Heart"). Reports at the time claimed Springsteen had composed sixty songs for the project. The man was certainly prolific with his songs being recorded by Robert Gordon, Natalie Cole, Pointer Sisters, Dave Edmunds and Gary "U.S." Bonds. He followed "The River" with a total change of pace. "Nebraska" was nearly all-acoustic and was recorded on four track equipment.
"Born In The U.S.A." launched Springsteen into superstar status. On the liner notes for his "Greatest Hits" collection he mentioned how weird it was to be a pop star (thanks to "Dancing In The Dark") in his mid-30s. He also claimed he "loved" it. The fierce title track was nearly abducted by both '84 presidential candidates to be their campaign theme song. Apparently neither Ronald Reagan, Walter Mondale nor their handlers really listened to the song. Instead of being a joyous Beach Boy-type celebration of the good life, "Born In The U.S.A." charted the dark underbelly of America - the pain, frustration and sense of hopelessness. Springsteen wisely refused overtures from both camps.
"Born In The U.S.A." had a slew of great songs. "Dancing In The Dark," "Glory Days," "I'm Goin' Down," "Cover Me" and even the ballads "My Hometown" and "I'm On Fire" showed man at the height of his songwriting and performing powers.
An outstanding live set hit in '86 featuring several new and previously unreleased tracks. Though a bit subdued, Springsteen's next effort was the brilliant "Tunnel of Love" album. The main theme was love's trials and tribulations. In the early '90s Springsteen had just about finished his "Human Touch" album when a burst of creativity hit and he wrote and recorded the "Lucky Town" CD. Packaged together, then separately, each sold over a million copies. "Lucky Town" had the harder edge of the two. The introspective "Human Touch" and the Rockin' "Better Days" were released as singles.
Springsteen continued to record and tour in the '90s but spent more time focused on parenthood and the domestic life. But twenty-seven years after hitting the cover of Time, Springsteen made the cover of Time again (a record period between first and second cover appearances) on the strength of "The Rising." Though some songs were completed before 9/11/01, they bare the mark of that horrific day and reflect the loss. Occasionally, the lyrics gloss over the tragedy but frankly, it would be too difficult otherwise. It's near impossible to grasp the full impact unless you were at ground zero when the Trade Center towers came down. Springsteen still had the ability to see the world through the eyes of everyman but musically he seemed stuck in the "Lucky Town" mode. It was not a bad rut to be in but it was certainly well furrowed.
Springsteen changed course for his '05 release "Dust & Devils." The stripped down acoustic arrangements left plenty of room for sober lyrics dealing with life's trepidations. In the same vein, but with a much different outcome, he released "We Shall Overcome: The Seeger Sessions" a year later. The tribute to Folk legend, Pete Seeger, was a welcome celebration.
Springsteen issued "Magic" in late '07. The 11-track album was his first in five years with the E Street Band (since '02's "The Rising"). "You could say that it's a little more sonically guitar-driven than any past Bruce album," said Landau. "Radio Nowhere," was initially available as a free download exclusively on iTunes. The next year, the song won Solo Rock Vocal Performance and Rock Song Grammy Awards.
Not surprisingly, Springsteen was an active participant in the '08 elections. Nearly 50,000 fans attended Springsteen's free performance in Philadelphia, the first of a three-rally series at which he appeared in support of Democratic presidential nominee Barack Obama. "(Our country) needs someone with Senator Obama's understanding, temperateness, deliberativeness, maturity, compassion, toughness, and faith, to help us rebuild our house once again," said the Boss during his seven-song set. Springsteen also played at Obama events in Columbus, OH, and Ypsilanti, MI.
To quote John Lennon, "a working class hero is something to be." Without Springsteen's clear-eyed, street-smart Rock, the '70s would have been hard to endure. After a weak first album, Springsteen went to the well for "The Wild, The Innocent And The E Street Shuffle." While this album was a vast improvement and contained the exhilarating "Rosalita (Come Out Tonight)" it was only the beginning. The next effort "Born To Run," was an album so good and so visionary, that it finally established Springsteen as a major force. Any album with "Thunder Road," an ode to Robert Mitchum's outlaw movies, the irresistible groove of "Tenth Avenue Freeze-Out," the mean-streets vibe of "Jungleland" or the fierce power of the title track does not need hype.
In '80 the double album "The River" rolled out. It was another brilliant collection featuring the hit "Hungry Heart" and the irrepressible "Cadillac Ranch." The acoustic "Nebraska" album appeared in '82. Then came "Born In The U.S.A." Almost every song had a haunted, troubled perspective. Even so, it's Springsteen at his most accessible. "Dancing In The Dark," "Glory Days," "I'm On Fire" and the title track were hits, turning the album into Springsteen's greatest commercial success.
"Tunnel of Love," released in '87, was followed in '92 by "Human Touch" and the grittier "Lucky Town." Prolific guy that Springsteen. "Greatest Hits" and "Box Set" packages were issued to cash in.
Who can argue with "The Essential Bruce Springsteen?" The inclusion of the live "American Skin" and "Land Of Hopes And Dreams" are nice touches. This career retrospective is perfect for filling holes in a collection or as an intro to one of America's premier Rockers. But Springsteen wasn't done.
The '02 release "The Rising" marks Springsteen's return to Rock. After the somber Folk-acoustic "The Ghost of Tom Joad" it was certainly welcome news. Springsteen, backed for the first time since the mid-80s by the E Street Band, provides the necessary musical muscle. At this stage of the game, it would be unfair to expect Springsteen to match his "glory days" but with "The Rising" there aren't any boring stories.
"The Rising" has a great opening track in "Lonesome Day." The Rocker sets the tone and provides the context for what is to come. Springsteen plumbs the 9/11 depths in "observational" songs" like "You're Missing" and album closer "My City In Ruins." But it's the songs of uplift that provide "The Rising's" most memorable and emotive tracks. The Gospel derived title track and the "life affirming" songs "Let's Be Friends (Skin To Skin)" and the good time Rocker "Mary's Place" are the album's drawing cards. Fierce Rocker "Further On (Up The Road)" is lyrically potent and gives Springsteen the opportunity to really kick it out.
One wonders what Springsteen does all day. First, there was "57 Channels (And Nothin' On)" and now the lead track on "Magic" is "Nowhere Radio," a slam against corporate packaged satellite 'entertainment'. Seems whenever The Boss sees the dish bill it sets him off. Even so, "Nowhere Radio" is a great start. The song gets on a powerful roll anchored by Springsteen's deep, dense vocals.
There's the eternal question: Does every great Springsteen album have to have at least one motorcycle song? That argument can go on forever but Springsteen covers himself with the epic, 'head for the hills' escapist "Gypsy Biker." Here Springsteen mixes desperation and acrimony. "The favored march up over the hill in some fools parade/ Shoutin' victory for the righteous but there ain't much here but graves." This political bent surfaces again in the spot on "Last To Die." "Whose blood will spill, whose heart will break/ Who'll be the last to die for a mistake?" Iraq War anyone?
Is Springsteen better with the E Street Band? Well, he's pretty terrific on his own but the E Streeters provide the punch and groove on "Livin' In The Future." They are there to elevate "I'll Work For Your Love." Then underscore the longing of "Girls In Their Summer Clothes." So the answer seems obvious.
When Columbia signed Springsteen way back when, they didn't think they were getting Rock's savior but rather, and at the time maybe even more commercially viable, the Dylan of the '70s. Springsteen wasn't initially pleased but on occasion, over his lengthy career, he has veered in that direction, most notably on "Nebraska" and "Dust & Devils." On the latter, Springsteen plies bare and sparse arrangements as he pours out stories, often bitter, on life's cruel injustices. But when Springsteen picks up the tempo he produces the set's best moments. There's the friendly Rock of "All The Way Home" and "Long Time Comin'." Springsteen's other songs are emotional and telling but best taken in small doses. He's got a lot on his mind and it's more than most can comprehend.
Like most budding musicians Springsteen listened to the radio and bought records. No doubt he looked at the label of the Byrds mega-hit "Turn! Turn! Turn!," saw the writer's credit, and wondered "who the heck is P. Seeger? Seeking the answer to that question led him into the hills and across the flatlands, down coblestone back alleys and across irrigation ditches. The journey went down lonesome roads, in search of desolate dreams, to places populated by the likes of Woody Guthrie, Hank Williams and eventually, Pete Seeger. Folk music, the stories of life's hard won victories and crushing defeats that are only kept at bay by an illogical optimism. Where the songs were both instructive and telling.
"We Shall Overcome: The Seeger Sessions" is The Boss' tribute to Seeger's artistry and scope. But unlike the unfocused "Tom Joad" or the mournful "Nebraska," Springsteen creates a joyful noise investing each song with energy, commitment and emotion. It's one legend's nod to another.
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