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We Say...
"We need you," was a cry Springsteen heard from a whole lot of his fans in the days after 9/11, and the Boss took heed of the call. Reconvening the E Street Band for the first studio album in almost two decades, he cut 15 songs of horror and hope, including "My City In Ruins," a tune he had originally written about his old stomping grounds Asbury Park, but which takes on a greater, and even sadder, weight here. At its best, the record is a superb document of hope and even exhilaration rising from both literal ashes, and the ashes of despair. Well played.
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They Say...
"Yes, life is very confusing, we're just trying to get on with it." -- Art Carney as Harry Coomes in Harry and Tonto. The many voices that come out of the ether on Bruce Springsteen's The Rising all seem to have two things in common: the first is that they are writing from the other side, from the day after September 11, 2001, the day when life began anew, more uncertain than ever before. The other commonality that these voices share is the determination that life, however fraught with tragedy and confusion, is precious and should be lived as such. This is a lot for a rock album by a popular artist to claim, but perhaps it's the only thing there is worth anything. On this reunion with the E Street Band, Bruce Springsteen offers 15 meditations -- in grand rock & roll style -- on his own way of making sense of the senseless. The band is in fine form, though with Brendan O'Brien's uncanny production, they play with an urgency and rawness they've seldom shown. This may not have been the ideal occasion for a reunion after 15 years, but it's one they got, and they go for broke. The individual tracks offer various glimpses of loss, confusion, hope, faith, resolve, and a good will that can only be shown by those who have been tested by fire. The music and production is messy, greasy; a lot of the mixes bleed tracks onto one another, giving it a more homemade feel than any previous E Street Band outing. And yes, that's a very good thing. The set opens with "Lonesome Day," a midtempo rocker with country-ish roots. Springsteen's protagonist admits to his or her shortcomings in caring for the now-absent beloved. But despite the grief and emptiness, there is a wisdom that emerges in questioning what remains: "Better ask questions before you shoot/Deceit and betrayal's bitter fruit/It's hard to swallow come time to pay/That taste on your tongue don't easily slip away/Let kingdom come/I'm gonna find my way/ Through this lonesome day." Brendan O'Brien's hurdy-gurdy cuts through the mix like a ghost, offering a view of an innocent past that has been forever canceled because it never was anyway; the instrument, like the glockenspiels that trim Bruce Springsteen's songs, offers not only texture, but a kind of formalist hint that possibilities don't always lie in the future. In contrast, "Into the Fire" seems to be sung from the perspective of a deceased firefighter's remaining partner who, despite her/his unfathomable loss, offers a prayer of affirmation, and the request to embody the same qualities he or she displayed in paying the ultimate price for selflessness. A Dobro and acoustic guitar bring in the ghost of a mountain melody, and Max Weinberg's muted snare and tom-tom rhythm offer the solemnity of the lyric before Roy Bittan and Danny Federici shift the gears and offer a nearly symphonic crescendo on the refrain: "May your strength bring us strength/may your faith give us faith/May your hope give us hope/May your love give us love." The second time through, the last line subtly changes to "May your love bring us love." While the band is in full flower, the keys are muted under sonic ambience and the snaky lone acoustic guitar and Weinberg's thundering processional drumming. Likewise, the revelatory rock & roll on "Worlds Apart," complete with a knife-edged wail of a guitar solo by Springsteen that soars around a Sufi choir is not only a manner of adding exotica to the mix, but another way of saying that all cultures are in this together, and it unwittingly reveals that great rock can be made with virtually any combination of musicians. It's a true scorcher. "Further On (Up the Road)" is a straight-ahead rocker complete with knotty riffs and plenty of rootsed-out, greasy guitar overdrive -- most of the album does, but that's one of O'Brien's strengths as a producer -- that are evocative of Mike Ness and Social Distortion's late efforts. Lest anyone mistakenly perceive this recording as a somber evocation of loss and despair, it should also be stated that this is very much an E Street Band recording. Clarence Clemons is everywhere, and the R&B swing and slip of the days of yore is in the house -- especially on "Waitin' for a Sunny Day," "Countin' on a Miracle," "Mary's Place" (with a full horn section), and the souled-out "Let's Be Friends (Skin to Skin)." These tracks echo the past with their loose good-time feel, but "echo" is the key word. Brendan O'Brien's guitar-accented production offers us an E Street Band coming out of the ether and stepping in to fill a void. The songs themselves are, without exception, rooted in loss, but flower with the possibility of moving into what comes next, with a hard-won swagger and busted-up grace. They offer balance and a shifting perspective, as well as a depth that is often deceptive. The last of these is a bona fide love song, without which, in rock & roll anyway, no real social commentary is possible. The title track is one of Mr. Springsteen's greatest songs. It is an anthem, but not in the sense you usually reference in regard to his work. This anthem is an invitation to share everything, to accept everything, to move through everything individually and together. Power-chorded guitars and pianos entwine in the choruses with a choir, and Clemons wails on a part with a stinging solo. Here too, the chantlike chorus is nearly in symphonic contrast to the country-ish verse, but it hardly matters, as everything inside and outside the track gets swept into this "dream of life." The album closes with "Paradise," a haunting and haunted narrative offered from the point of view of a suicide bomber and a studio version of "My City of Ruins." These songs will no doubt confuse some as they stand in seemingly sharp contrast to one another, but in "My City of Ruins," all contradictions cease to matter. With acoustic pianos and subtley shimmering Memphis soul-style guitars that give way to a Hammond B-3 and a gospel choir, Springsteen sings "rise up" without artifice. In this "churchlike" confessional of equanimity, Springsteen reaches out to embrace not only his listeners, but all of the protagonists in the aforementioned songs and their circles of families and friends. The album ends with an acknowledgement of grace and an exhortation to action. With The Rising, Springsteen has found a way to be inclusive and instructive without giving up his particular vision as a songwriter, nor his considerable strength as a rock & roll artist. In fact, if anything, The Rising is one of the very best examples in recent history of how popular art can evoke a time period and all of its confusing and often contradictory notions, feelings, and impulses. There are tales of great suffering in The Rising to be sure, but there is joy, hope, and possibility, too. Above all, there is a celebration and reverence for everyday life. And if we need anything from rock & roll, it's that. It would be unfair to lay on Bruce Springsteen the responsibility of guiding people through the aftermath of a tragedy and getting on with the business of living, but rock & roll as impure, messy, and edifying as this helps.
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| 01. |  |
Lonesome Day |
4:05 |
|
| 02. | |
Into The Fire |
5:02 |
|
| 03. | |
Waitin' On A Sunny Day |
4:16 |
|
| 04. | |
Nothing Man |
4:20 |
|
| 05. | |
Countin' On A Miracle |
4:41 |
|
| 06. | |
Empty Sky |
3:33 |
|
| 07. | |
Worlds Apart |
6:04 |
|
| 08. | |
Let's Be Friends (Skin to Skin) |
4:19 |
|
| 09. | |
Further On (Up The Road) |
3:50 |
|
| 10. | |
The Fuse |
5:36 |
|
| 11. | |
Mary's Place |
5:59 |
|
| 12. | |
You're Missing |
5:08 |
|
| 13. | |
The Rising |
4:47 |
|
| 14. | |
Paradise |
5:37 |
|
| 15. | |
My City Of Ruins |
5:00 |
|
15 Total Tracks, 72:17 Total Length
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Credits
- Nils Lofgren - Banjo // Nils Lofgren - Banjo // Nils Lofgren - Banjo // Nils Lofgren - Dobro // Nils Lofgren - Dobro // Nils Lofgren - Dobro // Nils Lofgren - Guitar (Electric) // Nils Lofgren - Guitar (Electric) // Nils Lofgren - Guitar (Electric) // Nils Lofgren - Vocals (Background) // Nils Lofgren - Vocals (Background) // Nils Lofgren - Vocals (Background) // Nils Lofgren - Slide Guitar // Nils Lofgren - Slide Guitar // Nils Lofgren - Slide Guitar // Bruce Springsteen - Guitar (Acoustic) // Bruce Springsteen - Guitar (Acoustic) // Bruce Springsteen - Guitar (Acoustic) // Bruce Springsteen - Guitar // Bruce Springsteen - Guitar // Bruce Springsteen - Guitar // Bruce Springsteen - Harmonica // Bruce Springsteen - Harmonica // Bruce Springsteen - Harmonica // Bruce Springsteen - Vocals // Bruce Springsteen - Vocals // Bruce Springsteen - Vocals // Bruce Springsteen - Main Performer // Bruce Springsteen - Main Performer // Bruce Springsteen - Main Performer // Bruce Springsteen - Guitar (Baritone) // Bruce Springsteen - Guitar (Baritone) // Bruce Springsteen - Guitar (Baritone) // Clarence Clemons - Saxophone // Clarence Clemons - Vocals (Background) // Patti Scialfa - Vocals // David Angell - Violin // Roy Bittan - Organ // Roy Bittan - Piano // Roy Bittan - Keyboards // Roy Bittan - Mellotron // Roy Bittan - Kurzweil Synthesizer // Roy Bittan - Organ (Pump) // Roy Bittan - Korg M1 // Roy Bittan - Crumar // David Davidson - Violin // Nick DiDia - Engineer // Connie Ellisor - Violin // Danny Federici - Organ // Danny Federici - Organ (Hammond) // Danny Federici - Farfisa Organ // Danny Federici - Vox Continental // Carl Gorodetzky - Violin // Carl Gorodetzky - Concert Master // Carl Gorodetzky - Contractor // Jim Grosjean - Viola // Ricky Keller - Conductor // Ricky Keller - String Arrangements // Ricky Keller - String Conductor // Lee Larrison - Violin // Bob Ludwig - Mastering // Edward Manion - Sax (Baritone) // Nashville String Machine - Performer // Brendan O'Brien - Glockenspiel // Brendan O'Brien - Bells // Brendan O'Brien - Producer // Brendan O'Brien - Hurdygurdy // Brendan O'Brien - Mixing // Brendan O'Brien - Orchestra Bells // Mark Pender - Trumpet // Chuck Plotkin - Engineer // Richie Rosenberg - Trombone // Toby Scott - Engineer // Pamela Sixfin - Violin // Michael Spengler - Trumpet // Garry Tallent - Bass // Soozie Tyrell - Violin // Soozie Tyrell - Vocals (Background) // Alan Umstead - Violin // Gary VanOsdale - Viola // Steven Van Zandt - Mandolin // Steven Van Zandt - Guitar (Electric) // Steven Van Zandt - Vocals (Background) // Mary Kathryn Vanosdale - Violin // Max Weinberg - Drums // Kris Wilkinson - Viola // Billy Bowers - Engineer // Carl Rabinowitz - Celli // Jane Scarpantoni - Cello // David Bett - Art Direction // David Bett - Design // Christopher Austopchuk - Art Direction // Jerry Vivino - Sax (Tenor) // Danny Clinch - Photography // Laurie Flannery - Digital Editing // Kevin Buell - Project Coordinator // Monisa Angell - Viola // Julie Tanner - Celli // Dave Reed - Engineer // Asif Ali Khan - Vocals // Asif Ali Khan - Guest Appearance // Melissa Mattey - Engineer // Karl Egsieker - Engineer // Erin Haley - Project Coordinator // Lynn Peithman - Celli // Jere Flint - Cello // Larry Antonio - Choir, Chorus // Michelle Holme - Design // Haji Nazir Afridi - Tabla // Haji Nazir Afridi - Vocals // Haji Nazir Afridi - Guest Appearance // Brian Humphrey - Second Engineer // Tiffany Andrews - Choir, Chorus // Mala Sharma - Project Coordinator // Katie Fendley - Project Coordinator // Michelle Moore - Soloist // Carole A. Rabinowitz - Celli // Alison Oscar - Project Coordinator // Corinda Carford - Contractor // Donald Clive Davidson - Violin // Terry Magovern - Project Coordinator // The E Street Band - Group
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