Springsteen & I Blu-ray Review

Written by General Jabbo

Most musicians hope to have a fan base as rabid and devoted as that of Bruce Springsteen's. While there have been many features on Springsteen over the years, Mr. Wolf and Ridley Scott Associates have decided to pay tribute to his fans. Made with support from Springsteen, Springsteen & I combines homemade testimonials from fans, along with rare footage of The Boss in concert in a fitting tribute for fans and an attempt to convert the nonbelievers.

Read the rest of the review at www.blindedbysound.com by clicking here.

Bruce Springsteen - Working on a Dream CD Review

Written by General Jabbo

While on tour for his excellent 2007 album Magic, Bruce Springsteen quickly realized the fabled E Street Band was playing some of the best shows of its career. Wanting to catch lightning in a bottle, he gathered the band together during breaks on the tour to record his next batch of songs. Those songs became Working on a Dream.

The album opens with “Outlaw Pete,” a sprawling eight-minute epic with western overtones, classic Springsteen harmonica, and a big, layered sound not unlike many of the songs on Magic. It’s classic Bruce and as good as anything he’s written.

“My Lucky Day” is an all-out rocker that would be at home on The River or Born in the U.S.A. The album’s first single, the title track, blends lush melodies over a chorus that would make Roy Orbison envious.

On “Queen of the Supermarket,” Springsteen longs for the attractive woman behind the checkout counter. It’s orchestrated ‘60s pop and sounds like classic ‘70s Bruce. While others may find the content creepy, we don’t know the age of the woman he is lusting for or the age of the protagonist in the song. It’s no worse than a mid-‘30s Brian Wilson writing “Roller Skating Child” at least.

The melody of “What Love Can Do” borrows from Fountains of Wayne’s “Amity Gardens” but veers into harder-rocking territory while “This Life” invokes Phil Spector’s Wall of Sound. “Tomorrow Never Knows,” not to be confused with the Beatles’ track of the same name, is an up-tempo country folk tune with fiddles. One could easily imagine Bob Dylan signing it.

The jangly guitars of “Surprise, Surprise” recall the Byrds at the height of their mid-‘60s powers, while “The Last Carnival” pays tribute to fallen bandmate Danny Federici, whose son Jason plays accordion on the track.

The album closes with a bonus track — the Golden Globe-winning title song from The Wrestler about a broken-down athlete in which Springsteen plays all the instruments.

Working on a Dream was produced by Brendan O’Brien, who also produced The Rising and Magic. As such, the albums all have a sense of continuity. O’Brien understands Springsteen’s vision and has brought out some of the best work of his career. Springsteen is at an age when most artists become oldies acts or simply fade away, yet Working on a Dream shows the Boss is as vital as ever.

Bruce Springsteen and the E Street Band Concert Review - The Palace of Auburn Hills - Auburn Hills, MI 11/5/07

Written by General Jabbo

Opening with “Radio Nowhere,” one of nine songs featured from his new album, Magic, the band played a spirited set that went over two hours and rarely let up in intensity.

A staunch critic of the Bush administration, Springsteen introduced “Magic” and “Livin’ in the Future,” both from the new release with warnings about not believing what you see and illegal wiretapping to a mixed response. This was not the Vote For Change tour and Springsteen, understanding this, kept the Bush bashing to a minimum.

Springsteen’s message for the most part was one of hope. He followed the somber “Magic,” with a bluesy rendition of “Reason to Believe.” He also debuted a moving version of Magic’s “I’ll Work For Your Love.”

“Jackson Cage,” from the 1980 album The River, made its tour debut and made for a potent combination when followed by a rocking “She’s the One.”

Springsteen is the rare veteran artist whose audience comes to the shows as much for the new songs as the old ones. No one would have guessed “Girls in Their Summer Clothes” was a new song by the number of people singing along with it. Springsteen dedicated the song to the Detroit girls, and one from New Jersey, referring to his wife and band mate Patti Scialfa.

Still, it was the hits that garnered the biggest crowd response, from “Tunnel of Love” to main set-ending “Badlands” to the encore double shot of “Born to Run” and “Dancing in the Dark.”

While the crowd tended to be on the older side, a young boy held up a handwritten sign during the encore that said, “Ramrod please.” Springsteen, smiling ear-to-ear, said, “He’s been rocking all night. My kid’s 16, he’d be asleep by now.” The band didn’t deny the request, playing “Ramrod” for the first time in five years to the delight of the crowd and especially the boy.

Springsteen closed the show with a rousing version of “American Land,” a holdover from the Seeger Sessions tour complete with song lyrics on the screen so the audience could sing along, its lyrics speaking of opportunity for all in the American land.

Bruce Springsteen’s music is as vital today as it was 30 years ago and his show was a good reminder of that. From the new songs off Magic to the classic hits, no one left the Palace disappointed.