Chris Fallon
01/26/09, 10:24 PM
Bruce Springsteen - Working on a Dream
Record Label: Columbia Records
Release Date: January 27, 2009
Seems these days you can't escape Bruce Springsteen if you try. Awards shows, Presidential inauguration ceremonies, NFL highlight reels, bands with beards -- no matter where you look, he's bound to show up in some form.
The Boss has reluctantly become The King in recent years, watching from on high over Jersey, making sure that Bon Jovi feller doesn't try to climb atop his almighty throne. For studio album number 16, Springsteen has returned to form after several prolific years of getting older, remaining more downtrodden lyrically and tinkering with a different form of his long-accustomed sound. We saw this on his "comeback" record, The Rising and on 2007's Magic, which was a bleak brand of pop we hadn't seen too often from a man who once sang about Joe Shmoe's looking back on their glory days or rolling on down Thunder Road.
For Working on a Dream, Springsteen went back into his songbook and pulled out some upbeat gems that are more reminiscent of his early work (in terms of content) and also takes some cues from his mainstream popularity (when it comes to melody) for a robust selection of impenetrable cuts just ripe for picking. It's abundantly clear that this is not just a Springsteen record -- it's the most collective sound we've heard from the E Street Band in years, not perhaps since Born in the U.S.A., with every member of the Boss' longtime backing band contributing something particularly satisfying throughout the record. For those more inclined to listen to his full-band rock records, this one is for you.
The first clue this is not the same Boss we've witnessed lately is evident in the first track, "Outlaw Pete," an eight-minute, slow-burning story of a man who "robbed a bank in his diapers and little bare baby feet." Raw and searing, Springsteen tells us a tale of a man always running to no avail, never slowing down -- mirroring that of Springsteen himself, an idol of many who may never have been perfect, but has continued to go strong despite whatever setbacks arrived. "My Lucky Day" reverses this tone, launching into an organ-drenched piece overflowing with optimism. It's an unusual song for the Boss, as even many of his pop songs have been dark in context. "When I've lost all the other bets I've made / Honey, you're my lucky day," he croons, hinting that perhaps under that rugged exterior, the Boss is a big ol' softy after all (and, to top it off, it comes complete with a classically-styled Clarence Clemons saxophone solo!).
Many of the songs tackle the topic of hope and love, what is to come in this unpredictable life (sung about in somewhat ironic fashion on "Surprise Surprise"), with some religious allusion scattered around for effect. Despite some of the silly lyrics, the yearning piano-laced track, "Queen of the Supermarket," feels like it was lifted directly from one of his first two albums; "Life Itself" is modern-rock that sounds like Pearl Jam, distorted guitars coming in & out over a steady beat; Celtic-flavored "What Love Can Do" shimmers with sincerity, powered by the band's layered vocal work; "Good Eye" catches Springsteen in one of his best moments, singing the blues like hymns, speaking like a preacher to the choir. Producer Brendan O'Brien (Pearl Jam, Incubus) has gotten some of Springsteen's best material out of him (not to dismiss any of his recent work), managing to produce a nostalgic sound while reinventing a classic artist. The record has life, something we haven't seen in full capacity from Bruce & company in quite some time.
The title track is the sore spot in all of this, lacking backbone in accordance with the encouraging words it provides (the lyrics suggest it should carry a melody like "My Lucky Day"). "Tomorrow Never Knows" is out-of-place, lasting just over two minutes, feeling like a banjo-driven interlude rather than an entire song. Despite all that, Working on a Dream is the best Springsteen album in 25 years, hearkening back to the days when he topped the charts and was the iconoclastic go-to American wordsmith. Each song feels as cohesive as the one before it, going for a full-band experience, bringing forth memories of [/i]Born to Run[/i]. While it's not as prolific as that recording was back in 1975, it carries the same emotional weight (exiting Vietnam --> exiting the frequently-chastised Bush administration) and is the perfect introduction for a new year, new country and new beginnings for all of us.
Springsteen's influence is undeniable, and it's wonderful to hear a classic artist come back swinging with such relevance, full of piss & vigor, bringing a little bit of old school to the new school. If only all classic artists could be as fruitful and as consistent as Springsteen has remained, then maybe we wouldn't have to be so thankful to have a familiar voice show up with such a strong presence.
On second thought, it's actually a nice treat. Keep riding that throne, Mr. Springsteen: "With you, [we] don't hear the minutes ticking by." We simply enjoy every second.
America; Barack Obama; Chevy trucks (but not John Mellencamp); BRUCE F**KING SPRINGSTEEN!!!"My Lucky Day," "Outlaw Pete" and "Good Eye."
1. Outlaw Pete
2. My Lucky Day
3. Working on a Dream
4. Queen of the Supermarket
5. What Love Can Do
6. This Life
7. Good Eye
8. Tomorrow Never Knows
9. Life Itself
10. Kingdom of Days
11. Surprise, Surprise
12. The Last Carnival
13. The WrestlerBruce Springsteen: lead vocals, guitar, harmonica, keyboards, percussion, glockenspiel
Roy Bittan: piano, organ, accordian
Clarence Clemons: saxophone, vocals
Danny Federici: organ
Nils Lofgren: guitars, vocals
Patti Scialfa: vocals
Garry Tallent: bass
Steve Van Zandt: guitars, vocals
Max Weinberg: drums
Soozie Tyrell: violin, vocals
Official Site (http://www.brucespringsteen.net) | Official Fansite (http://www.backstreets.com) | Official Myspace (http://www.myspace.com/brucespringsteen)Amazon MP3 (http://www.amazon.com/gp/product/B001QD7SF0?ie=UTF8&tag=absolutepun02-20&linkCode=as2&camp=1789&creative=390957&creativeASIN=B001QD7SF0)
Record Label: Columbia Records
Release Date: January 27, 2009
Seems these days you can't escape Bruce Springsteen if you try. Awards shows, Presidential inauguration ceremonies, NFL highlight reels, bands with beards -- no matter where you look, he's bound to show up in some form.
The Boss has reluctantly become The King in recent years, watching from on high over Jersey, making sure that Bon Jovi feller doesn't try to climb atop his almighty throne. For studio album number 16, Springsteen has returned to form after several prolific years of getting older, remaining more downtrodden lyrically and tinkering with a different form of his long-accustomed sound. We saw this on his "comeback" record, The Rising and on 2007's Magic, which was a bleak brand of pop we hadn't seen too often from a man who once sang about Joe Shmoe's looking back on their glory days or rolling on down Thunder Road.
For Working on a Dream, Springsteen went back into his songbook and pulled out some upbeat gems that are more reminiscent of his early work (in terms of content) and also takes some cues from his mainstream popularity (when it comes to melody) for a robust selection of impenetrable cuts just ripe for picking. It's abundantly clear that this is not just a Springsteen record -- it's the most collective sound we've heard from the E Street Band in years, not perhaps since Born in the U.S.A., with every member of the Boss' longtime backing band contributing something particularly satisfying throughout the record. For those more inclined to listen to his full-band rock records, this one is for you.
The first clue this is not the same Boss we've witnessed lately is evident in the first track, "Outlaw Pete," an eight-minute, slow-burning story of a man who "robbed a bank in his diapers and little bare baby feet." Raw and searing, Springsteen tells us a tale of a man always running to no avail, never slowing down -- mirroring that of Springsteen himself, an idol of many who may never have been perfect, but has continued to go strong despite whatever setbacks arrived. "My Lucky Day" reverses this tone, launching into an organ-drenched piece overflowing with optimism. It's an unusual song for the Boss, as even many of his pop songs have been dark in context. "When I've lost all the other bets I've made / Honey, you're my lucky day," he croons, hinting that perhaps under that rugged exterior, the Boss is a big ol' softy after all (and, to top it off, it comes complete with a classically-styled Clarence Clemons saxophone solo!).
Many of the songs tackle the topic of hope and love, what is to come in this unpredictable life (sung about in somewhat ironic fashion on "Surprise Surprise"), with some religious allusion scattered around for effect. Despite some of the silly lyrics, the yearning piano-laced track, "Queen of the Supermarket," feels like it was lifted directly from one of his first two albums; "Life Itself" is modern-rock that sounds like Pearl Jam, distorted guitars coming in & out over a steady beat; Celtic-flavored "What Love Can Do" shimmers with sincerity, powered by the band's layered vocal work; "Good Eye" catches Springsteen in one of his best moments, singing the blues like hymns, speaking like a preacher to the choir. Producer Brendan O'Brien (Pearl Jam, Incubus) has gotten some of Springsteen's best material out of him (not to dismiss any of his recent work), managing to produce a nostalgic sound while reinventing a classic artist. The record has life, something we haven't seen in full capacity from Bruce & company in quite some time.
The title track is the sore spot in all of this, lacking backbone in accordance with the encouraging words it provides (the lyrics suggest it should carry a melody like "My Lucky Day"). "Tomorrow Never Knows" is out-of-place, lasting just over two minutes, feeling like a banjo-driven interlude rather than an entire song. Despite all that, Working on a Dream is the best Springsteen album in 25 years, hearkening back to the days when he topped the charts and was the iconoclastic go-to American wordsmith. Each song feels as cohesive as the one before it, going for a full-band experience, bringing forth memories of [/i]Born to Run[/i]. While it's not as prolific as that recording was back in 1975, it carries the same emotional weight (exiting Vietnam --> exiting the frequently-chastised Bush administration) and is the perfect introduction for a new year, new country and new beginnings for all of us.
Springsteen's influence is undeniable, and it's wonderful to hear a classic artist come back swinging with such relevance, full of piss & vigor, bringing a little bit of old school to the new school. If only all classic artists could be as fruitful and as consistent as Springsteen has remained, then maybe we wouldn't have to be so thankful to have a familiar voice show up with such a strong presence.
On second thought, it's actually a nice treat. Keep riding that throne, Mr. Springsteen: "With you, [we] don't hear the minutes ticking by." We simply enjoy every second.
America; Barack Obama; Chevy trucks (but not John Mellencamp); BRUCE F**KING SPRINGSTEEN!!!"My Lucky Day," "Outlaw Pete" and "Good Eye."
1. Outlaw Pete
2. My Lucky Day
3. Working on a Dream
4. Queen of the Supermarket
5. What Love Can Do
6. This Life
7. Good Eye
8. Tomorrow Never Knows
9. Life Itself
10. Kingdom of Days
11. Surprise, Surprise
12. The Last Carnival
13. The WrestlerBruce Springsteen: lead vocals, guitar, harmonica, keyboards, percussion, glockenspiel
Roy Bittan: piano, organ, accordian
Clarence Clemons: saxophone, vocals
Danny Federici: organ
Nils Lofgren: guitars, vocals
Patti Scialfa: vocals
Garry Tallent: bass
Steve Van Zandt: guitars, vocals
Max Weinberg: drums
Soozie Tyrell: violin, vocals
Official Site (http://www.brucespringsteen.net) | Official Fansite (http://www.backstreets.com) | Official Myspace (http://www.myspace.com/brucespringsteen)Amazon MP3 (http://www.amazon.com/gp/product/B001QD7SF0?ie=UTF8&tag=absolutepun02-20&linkCode=as2&camp=1789&creative=390957&creativeASIN=B001QD7SF0)