Some songs had appeared in earlier incarnations. The title track had been part of the E Street Band reunion sessions two decades earlier; it’s a cover, so he can’t be blamed for the lazy chorus, but he should have known better about the horns. “American Skin (41 Shots)” was introduced on the reunion tour and released on the 2001 live album, and is just as long here, but still good. Tom Morello played guitar on half the album, and sings some of the verses on the too-long, too-loud rock remake of “The Ghost Of Tom Joad”. (He also allegedly suggested all the covers that were included. “Just Like Fire Would” was originally recorded by a punk band, but here it’s all Bruce. Similarly, “Dream Baby Dream” was originally by synth-punk duo Suicide, and becomes an aching prayer.)
“Harry’s Place” was likely left off The Rising in favor of “Mary’s Place”, which is no better. “Down In The Hole” begins low-key like a Devils & Dust track, but picks up with crazy samples and sound effects, just as “Heaven’s Wall” opens with a gospel chant and beats a “raise your hand” motif into submission. “Frankie Fell In Love” is a nice throwback to his character songs from the ‘70s, and “The Wall” a nice memorial to Vietnam veterans. But “This Is Your Sword” is an unconvincing call to arms, and “Hunter Of Invisible Game”, while lilting, lopes aimlessly.
Bruce Springsteen High Hopes (2014)—2
Bruce Springsteen American Beauty (2014)—3
It’s a jumble. Not a bad one, but it could have been better. The three covers are pretty good choices. The Celtic sounds are continued from the last album in some tracks, so that’s good. “Harry’s Place” place doesn’t sound much like a “Rising” outtake with me. It’s another example of Bruce’s fascination with crime and criminals. Very spooky!
ReplyDeleteWhat I don’t like is the inconsistency of the production and arrangements. There are “modern” touches unnecessarily added to songs like the title track, “American Skin” (which makes the live version better), “Hunter of Invisible Game” and the otherwise fine version of “The Ghost of Tom Joad”. I don’t know why he felt the need to be contemporary, but these extraneous noises are just distractions. At least there’s no rapping this time.
On the other hand, "Frankie Fell in Love" is a return to the aesthetic of “The River”, while “Dream, Baby, Dream” is a throwback to “Streets of Philadelphia”. Decisions like these and others make the album a rather confusing one, even for longtime Bruce fans.
If I remember correctly from reading his autobiography, Bruce began to realize after the reception of the album that his music was now longer relevant. It’s hard for me to disagree. I haven’t been interested in anything he’s put out since.