Bruce Springsteen's new album begins with the clattering of drums and new (temporary) guitarist Tom Morello's screeching strings as Bruce launches into his cover of The Havillinnas anthem to optimism "High Hopes". This version of the song, first recorded some years ago, was premiered during the Australian leg of the "Wrecking Ball" tour last year and is perfect opener for what is something of a disjointed record that contains some songs that will undoubtedly take a prominent place in Springsteen's epic live shows and others that will more likely be seen as pointers to what Springsteen might do over the next decade.
"Harry's Place" is certainly one of those pointers commencing with thumping percussion and Bruce's treated vocals giving us Harry's story in a muted angry voice urging us not to "fuck with Harry". A sleazy sax gives the sparse arrangement an undercurrent of mystery and suspense with some of the usual Springsteen characters including some in drag, peopling the song whilst Morello's guitar gives the whole thing an air of menace.
Bruce's disembodied voices drifts across the opening "American Skin (41 Shots)" a song played live many times back around 2001 following the murder of Amadou Dillalo by Police. It has been resurrected and newly recorded for this album after the death of Trayvon Martin in similar circumstances more recently. It's an atmospheric piece that kicks up a couple of notches half way through when Morello pushes the song towards a shuddering climax with the E-Street Band giving full throated backing. The whole thing is a massive indictment of US gun control and landed Springsteen in deep controversy with allegations of being anti-Police back then. It's a remarkable song that will no doubt feature in Bruce's set when he finally gets back on the road.
A second cover, "Just Like Fire Would", penned by Chris Bailey of Aussie punk band The Saints, kicks of the central section of the album and leads into more traditional Springsteen territory as this brass soaked arrangement recalls some of the innocent songs from "The River" with an uplifting chorus and a 50's style melody. In some ways the album can be seen as a something of a pause in Bruce's relentless march in that brings together familiar themes like loss, hope and anger but presents them in a slightly different way. That's got to be healthy for him and for his whole artistic vantage point. The songs in this central section are a little more melodic with less emphasis on big choruses and Political themes. This is typified by "Hunter of Invisible Game" that has a delightfully light vocal from Bruce with some gorgeous string work from "Sister Soozie Tyrell" (as Bruce lovingly calls her from the stage).
For me, the central pivot of this important record, is the re-recording of the title track of his 1995 (mostly solo) album, "The Ghost of Tom Joad". In it's original incarnation it seethes with a quiet indignity and desperation but in this remarkable recasting the song becomes a towering anthem to the lost and disposed with Morello's supporting vocal and fiery guitar pyrotechnics taking centre stage. Springsteen brings out all the latent aggression and anger and lays it bare giving this obscure dark classic a whole new lease of life - welcome to the "new world order" indeed. There's a fine live version available to view on YouTube.
The last two tracks of the album brings us down gently as Bruce leads us through "The Wall" with more quiet steely determination that was inspired by the death of Walter Cichon, one of his pals from early New Jersey days, in Vietnam. This is a song that could easily slot on to any Bruce album and not look out of place. Springsteen lays himself bare on this sombre track, which is dripping with bitterness and gently caressed by Danny Federici's keyboard. There's some beautiful subdued vocals that recall "Darkness at the Edge of Town" but the haunting trumpet at the end of this low-key epic tells us that Bruce is still creating, still strong and still relevant.
The closing song, a third cover, is US punk band Suicide's epic " Dream Baby Dream" that gets the upgrade treatment. The song is a plea for hope in the face of all the fear and adversity that seems to surround us out there in Jungleland. It's the perfect closing song.
So, there we have it - the first major album of 2014 and something of a mixed bag with much to be impressed and several songs that will perhaps reside in the "classic" category in the year to come.
Words: Greg Johnson
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