From: owner-luckytown-digest@luckytown.org (LuckyTown Digest) To: luckytown-digest@luckytown.org Subject: LuckyTown Digest V9 #83 Reply-To: luckytown@luckytown.org Sender: owner-luckytown-digest@luckytown.org Errors-To: owner-luckytown-digest@luckytown.org Precedence: bulk LuckyTown Digest Saturday, September 7 2002 Volume 09 : Number 083 NOTE: Sale/trade posts should be emailed to luckytown-ads, *NOT* to luckytown. That includes tix wanted/tix grovels, post them to luckytown-ads, please. Contents: St. Louis show reflections . . . ["Green, Denise" ] correct st louis setlist 8-30-02 [Eeeestreetband@aol.com] Opportunism, etc. [Chris Ryan ] Darkness as Double LP ["Neil Cronin" ] Re: Recorded background singers [] Re: Recorded background singers [Audio2575@aol.com] Recorded background singers + check out my San Jose pics!! [QuadAxel83@ao] Re: LuckyTown Digest V9 #81 [Jajensen23@aol.com] The White album, The River, The Rising, Dust Bowl Ballads ["Mike Estelle"] From: Chris Ryan [Chris Ryan ] My review of "The Rising" [Tony Kuzminski ] ---------------------------------------------------------------------- Date: Tue, 3 Sep 2002 14:42:30 -0500 From: "Green, Denise" Subject: St. Louis show reflections . . . St. Louis on August 30 was my first show of this tour and my third Bruce & E St. show ever. I had the good fortune to go to college in 1979 in Cleveland, Ohio and listen to old WMMS-Kid Leo's show. "Born to Run" was the first album I ever bought! A good friend told me that Springsteen shows were the closest thing to religious ecstasy she had ever known and took me to a 1980 show at the Richfield Coliseum. I've been a Springsteen fanatic ever since. I enjoyed meeting a few of you fellow fanatics at the Hard Rock cafe before the show. For the first time I did a lot of checking out set lists and buzz on the Internet in advance of the St. Louis show. I'm very glad I did because I think the band has changed since the 1999-2000 reunion tour. The sound is different, the dynamic on stage is a bit different and the much shorter set would have been a big disappointment if I was expecting the mutual luvfest of the reunion tour. I really like the "Rising" album, but I can see how many long time fans don't. The sound mix is a departure for the E St. Band. The guitars and violin dominate and I especially found I missed the big keyboard numbers during the concert like "Backstreets". I like Patti Scalfia's voice too but her pitch is unusual. And Steve Van Zandt and Max Weinberg play differently after their solo careers than when I first heard them all in 1980. So I can understand that many longtime fans don't like the "Rising" songs but I do. And even more I love to see a group of 40-50 somethings still evolving, still creative, still having fun on stage, still showing that a new arrangement can breathe life into a tired song like "Dancing in the Dark". Lets face it, the E St. band could have broken up for good, could have gone on the nostalgia circuit, could have tried the flavor of the month approach of the Rolling Stones or fizzled out like the Who or sold out to corporate sponsors like too many bands to name. So love or hate the "Rising" set of songs, lets all appreciate what we have here in the E St. Band. A few highlights of the St. Louis show for me: * The folks in the better seats in section 301 helping putting up my "Out in the Street" banner on the edge of the overhang. It fell down some point and I don't even know if the band saw it but what the hell? It was worth a try. * Bruce and all jumping like they were on pogo sticks to the revived "Dancing in the Dark" * Patti and crew waving their arms to the opener to "Mary's Place" * The crowd singing "Waiting on a Sunny Day" -virtually the whole song! * Not being the only one shushing the yahoos that kept "Bru-u-u-cing" during "Empty Sky / You're Missing" * Clarence and Steve and Patti dancing in a kind of train/line behind Bruce during "Gloria Days" * The civil liberties speech and brief speech for the local food bank * Ending with the priceless "Land of Hope and Dreams" * And last, the very funny exchange during Thunder Road - Something went wrong and there was crash on the piano just as Bruce sang "Like a vision she dances across the porch as the radio plays", he stopped playing looked back and said something like "What the hell radio was that? Fix that motherf***", grinned and went on with "Roy Orbison's singing for the only..Roy Orbison's rolling over in his grave (big smiles all around) before they all kicked in. So thanks for reading my first long posting to luckytown.org and here's to hope and dreams in the flatland of Central Illinois, Denise D. Green ------------------------------ Date: Tue, 3 Sep 2002 09:40:50 -0500 From: Eeeestreetband@aol.com Subject: correct st louis setlist 8-30-02 hummm ??? this is what they played in st louis.....it different from whats listed around. this train, Larry Savvis Center St Louis, Mo. 8-30-02 1 The Rising 2 Lonesome Day 3 Prove it all night 4 The Fuse 5 Downbound Train 6 Empty Sky 7 Your Missing 8 Waiting On A Sunny Day 9 Promise Land 10 Worlds Apart 11 Badlands 12 Bobby Jean 13 Mary's Place 14 Counting On A Miracle 15 Thunderoad 16 Into The Fire 17 Dancing In The Dark 18 Glory Days 19 Born To Run 20 My City Of Ruins 21 Born In The USA 22 LOHAD [text/html attachment deleted] ------------------------------ Date: Mon, 2 Sep 2002 22:38:21 -0700 From: Chris Ryan Subject: Opportunism, etc. Reading the posts complaining about opportunism, downers, etc., and all I can think of are those lines from Jungleland: Outside the street's on fire In a real death waltz Between what's flesh and what's fantasy And the poets down here Don't write nothing at all They just stand back and let it all be I certainly couldn't say it any better than that. It's his job! Chris ------------------------------ Date: Sun, 1 Sep 2002 10:10:46 -0400 From: "Neil Cronin" Subject: Darkness as Double LP To the guys who were talking about this in past digests. I totally agree, this could have been the greatest collection of music ever. If you take the already amazing original album, and add: Frankie Preacher's Daughter Don't Look Back Drive All Night Because The Night Independence Day Fire Candy's Boy Taxi Cab Hearts Of Stone Rendezvous The Iceman The Promise Spanish Eyes and the song Drifter's Barrio which is on some tape covers from the sessions, I never heard it, it just sounds like a cool title. This would probably have to be a Triple Album. What could have been? My question though is what is the role of the producer/manager as far as making a record goes? I am all for artistic control and artistic integrity, but shouldn't someone who was close to Bruce and worked with him and his music have pushed him to keep songs like Fire and Because the Night instead of giving them away, and shouldn't Bruce have been pushed into releasing the abovementioned songs. It seems to me that at certain times in rock history the record companies have had so much power that anything that was recorded was put out. I don't know about any of this, it just bothers me who has no songwriting talent that these amazing songs were never released because somebody felt they weren't good enough. I have the opinion that as an artist, if you create something you ought to let it be heard. Bottom Line, I'm waiting for Tracks II. [text/html attachment deleted] ------------------------------ Date: Mon, 2 Sep 2002 05:38:46 -0400 From: Subject: Re: Recorded background singers Date: Thu, 29 Aug 2002 13:19:30 -0700 From: "M. Conens" Subject: Recorded background singers >The SF Chronicle said the background singers on World's Apart are on a >pre-recorded track. >Can anyone confirm this? >Is this the first time Bruce has used a >pre-recorded track in concert? See the Dancing in the Dark video. Or the performances of 57 Channels or Souls of the Departed from '92/'93. __________________________________________ Sent with ZotMail - http://www.zotmail.com ------------------------------ Date: Tue, 3 Sep 2002 11:24:27 EDT From: Audio2575@aol.com Subject: Re: Recorded background singers In a message dated 9/1/02 5:53:36 PM Eastern Daylight Time, owner-luckytown-digest@luckytown.org writes: > Date: Thu, 29 Aug 2002 13:19:30 -0700 > From: "M. Conens" > Subject: Recorded background singers > > The SF Chronicle said the background singers on World's Apart are on a > pre-recorded track. > Can anyone confirm this? Is this the first time Bruce has used a > pre-recorded track in concert? > > Matt > "Yes, of course there are recorded vocals that are played during worlds apart!" They are mixed with live vocals from everyone who sings on stage. I feel (as I'm sure others feel the same) that this is the only way to do this song to proper effect. It's great! I'm sure that Jon Landau and others in charge of finances on the tour thought that samples of Asif Ali Khan and his Group were also a better choice, than dragging 11 more people on tour...and not to sound non-PC, but a whole lot less hassle than bringing 11 people of their descent around the world. Other bands or "groups" tour with a DAT machine and vocals, full instrumental parts recorded, or even lead vocals on tape. I believe that the only other times that he has used samples were on the HT/LT tour during SOuls and 57 Channels and, of course Max's triggered drums on the BITUSA tour. Oh, I almost forgot, since the advent of digital keyboards, Roy and Danny have been cheating, by sampling thousands of piano and other notes at each show. Well, that is the the history lesson for today, Take care, Mike [text/html attachment deleted] ------------------------------ Date: Sun, 1 Sep 2002 18:16:14 EDT From: QuadAxel83@aol.com Subject: Recorded background singers + check out my San Jose pics!! << Subject: Recorded background singers The SF Chronicle said the background singers on World's Apart are on a pre-recorded track. Can anyone confirm this? Is this the first time Bruce has used a pre-recorded track in concert? Matt>>> Yes, the background is pre recorded, and it really gets on my nerves!!! It drives me crazy because a *live* show should be just that, live. If you can't reproduce the album sound in a live setting, either don't play the song or rework it so it can be played. I get that Bruce was going for a certain sound on this song, and that he probably wanted live audiences to hear it the same way, but it still bothers me. One of the things I really like about Bruce is his ability to really interpret a song in concert, often better than he does on the album, and playing with a recorded soundtrack doesn't really give you that freedom. I guess this is why Worlds Apart is one of my favorite songs on the album, but when I heard it live in NJ I was underwhelmed. It did get better by SJ, but I'm still not really thrilled about it. On a different note, I scanned some of my pictures from the San Jose show and put them on my webpage. Check them out here: http://www.angelfire.com/80s/grandtheft/brucepix.html - -Liz QuadAxel83@aol.com "These are better days" [text/html attachment deleted] ------------------------------ Date: Tue, 3 Sep 2002 12:57:46 EDT From: Jajensen23@aol.com Subject: Re: LuckyTown Digest V9 #81 Yes, the World's Apart background vocals are pre-recorded. A few thoughts on St. Louis: 1) I have been and still am of the opinion that The Rising would have been a much stronger, tighter and more powerful album if he would have held it to the 10 or so vital songs. However, after seeing him for the first time on this tour, the arrangements for the "other" songs he utilized during the show were awesome. In the studio, the violin is too prominent, particularly on Sunny Day and You're Missing. In the show, he used acoustic guitars for Sunny Day and it was an effective, fun number. The only live version I didn't like as much as the studio recording was Into the Fire. 2) Maybe it's because they were playing their last show before a two-week break, but I thought Bruce expended just about as much energy as he possibly could. He gave near-maximum effort. And I was one person away from the stage so I could watch him intently. 3) There were major audio/equipment problems. I'm no expert, but there were lots of reverberations, overmodulations, etc. I saw Garry scrunch up his face in disapproval countless times during the show, as if to say, "What the hell's going on?" Maybe with only one show in each city, it's more challenging to work out the kinks. 4) Does Max always whip his sticks to the ground as soon as he's done playing? 5) The GA line was very organized. Very few problems. If you didn't get there by 1:30 you weren't in the first 300 but I saw people in the 320's in the bullring. And others who had GA tickets were upgraded, given wristbands to get them up front. Regarding the policy, I will say this: If you can get there early enough to be in the first 300, you are going to have an unreal experience. By the same token you can still get right up by the stage with a number in the 200's, so I don't think it's worth giving up an extra five hours to be in the first 150 people. If I were doing it again, I would get to the show at noon to ensure you're in the first 300, and not worry about being in the first 100-150. 6) In regards to the setlist, interestingly before the fourth song he went around as if to be making a change. They then played The Fuse and then followed with "Downbound Train" after playing the first few notes of what sounded like Atlantic City on his guitar. The handwritten setlist said "Darkness/Candy's Room" for the fifth song, so obviously he changed it. I was disappointed he didn't play either song, but Promised Land and Badlands were awesome. For the BUSA fans, this was the show for you. He played five songs from BUSA: Downbound, Bobby Jean, Dancin', Glory Days and BUSA. I would have loved to hear Candy's Room, don't get me wrong, but the first encore of Dancin' in the Dark, Glory Days and BTR was a lot of fun. 7) For anyone who might dispute his talent as a musician, you tell me how many other artists sing and play the guitar, harmonica and piano in one show. Bruce got behind Roy's piano prior to City of Ruins and played the first half on the piano. Just his vocals and piano. Very powerful. He then gave way to Roy. A stagehand put the music on the piano during the break, so we knew we were in for something special. I might be wrong, but I didn't think he was tickling the ivories previously this tour, and I haven't seen him behind a piano in the seven shows that I have seen in the last 12 years. It was awesome. 8) Finally, 10 people will probably write in about this, but Roy accidentally hit the piano during the opening of Thunder Road, right when Bruce sings, "As the radio plays..." He started cracking up and said, "That's some radio." Then right after "Roy Orbison singing for the lonely," he added "Roy's rolling over in his grave right now." He was still laughing and smiling through the first half of the whole song. Overall, great show, fun setlist, despite audio problems and a length of less than 2.5 hours. I just wish it would have gone on all night. In a message dated 9/1/02 4:53:44 PM Central Daylight Time, owner-luckytown-digest@luckytown.org writes: > The SF Chronicle said the background singers on World's Apart are on a > pre-recorded track. > Can anyone confirm this? Is this the first time Bruce has used a > pre-recorded track in concert? > > Matt > [text/html attachment deleted] ------------------------------ Date: Mon, 2 Sep 2002 02:23:23 -0700 From: "Mike Estelle" Subject: The White album, The River, The Rising, Dust Bowl Ballads >>>>>> The River was bloated (and should have been released as "Ties That Bind". (A double Darkness LP) would have been up there with Layla, The White Album and Electric Ladyland as the greatest double LP's.>>>>>>>> An interesting post, Jon, but I am compelled to say that it is the White Album that is "bloated" (as you put it about "The River"). "Revolution Number 9" and "Wild Honey Pie" may have been an interesting experiments to listen to once but are hardly the stuff great (or even just average) music albums are made of. That idea that "Bungaloo Bill" and "Rocky Racoon" are great and, in the same breath, that "The River" is substandard at it's current length seems a bit absurd to me. Maybe the mix was a little unbalanced in "the River" I'll give you that. It's a bit like Danny's mom was the un-credited sound mixer. But since I love his playing I've personally been happy with it. I think that it is the White Album that would have been a "great" 40 minute album, in it's time. For me, it does not hold up as it exists, like the early and more spontaneous Beatles efforts do. By the way, you should be aware that "The Rising", at 73 minutes, IS a "double" LP (for whatever that means anymore). I'm coming to believe that it is great one. Although not recorded, live, in one day, I find it to be in the tradition of works like Woody Guthrie's "Dust Bowl Ballads" - as "Nebraska" more conspicuously is. The experience of a shared national disaster, runs similarly, maturely, and effectively through both Guthrie's 1940 album and the new Springsteen work. [text/html attachment deleted] ------------------------------ Date: Mon, 2 Sep 2002 11:57:52 -0700 From: Chris Ryan Subject: From: Chris Ryan DuoStudio@aol.com wrote: > with the exception of a handful of acts/artists/groups (the usual > suspects: Dylan, Neil Young, U2), there is basically no one out there > doing > "real" rock and roll anymore, and certainly no one of a mature stature I've seen Wilco three times over the last few years, from San Francisco in '96 to Vancouver on Saturday night. I believe they fit exactly the vacuum you are proposing exists. I think it's also important to realize that rock and roll is blocked mostly by the record companies, who can make quick cash on what is essentially fashion (in the clothing and sexual type, not music). It's time to abandon the traditional channels of distribution--and criticism. Chris ------------------------------ Date: Sun, 01 Sep 2002 19:27:21 -0400 From: Diane Subject: My Response to the author of the Nat. Rev. Piece I titled my response to the author of http://www.nationalreview.com/kurtz/kurtz082702.asp "I'm With Bruce; You're With Stupid" I wonder if he'll write me back. Dear Mr. Kurtz, In "Those 9/11 Songs: Are you with Springsteen or Keith?" you pose the question, "Is rueful lament a better answer to 9/11 than robust anger?" Let's forget the obvious bias in the adjectives (Would you prefer to be rueful or robust?). I think your question is invalid . It presupposes that humans are incapable of containing paradoxical emotions: lamentation AND anger (in the song Empty Sky, Springsteen's lines "I want a kiss from your lips/I want an eye for an eye" indicate that he is not so one-dimensional). My politics might be described as "Hard Left," and I don't despise "The Rising." In fact, I think it's a brilliant and powerful piece of work. I do have mixed emotions and thoughts about America's response to 9/11. Since there is every reason to believe that Osama Bin Laden is alive, our military response has not achieved the alleged objective. But that's okay, according to Bush and the right...we'll just go after another Arab--Saddam Hussein. What's the difference? It's this kind of rhetoric, this kind of simplistic "Let's go kick us some non-American ass," that has offended liberals--not the concept of appropriate self-defense. You seem to be espousing that lovable old saying, "America--Love it or Leave It," as if love and thoughtful dissent are mutually exclusive. I am an American who is very patriotic, very grateful to live in this country of laws and rights and responsibilities. I am grateful for our free press, the one that allows even individuals like you to spin singlemindedness into patriotism and depth into denial. As another member of the E Street band wrote, "I am a patriot." Doesn't mean I'm an imbecile. But I'm not angry. I think you should go on listening to Toby Keith until the end of time. Sometimes justice is the best revenge. Diane Wilkes ------------------------------ Date: Tue, 03 Sep 2002 10:13:47 -0400 From: ErikNorm@aol.com Subject: I Am Trying to Break Your Heart There has been some chat in the Digest recently that Bruce is the only one (along with a couple of other 50- and 60-somethings) standing up for traditional rock and roll. Fair point, but those who make the argument should go see "I Am Trying to Break Your Heart," the documentary about the new Wilco film. It's in pretty limited release, but is certainly worth tracking down. Bruce, I believe, once called Jeff Tweedy the best songwriter of his generation, and the movie confirms this (the merits of Yankee Hotel Foxtrot notwithstanding, Wilco has a tremendous body of work). Tweedy is, in effect, the anti-Bono, which may make him one of the coolest people on the planet (like U2, am real sick of Bono). The film may not break Wilco into a multi-platinum act, but should give us Bruce fans some faith that there are bands out there doing their best with guitars, bass and drums, writing mature songs that will stand the test of time. Check it out. Erik ------------------------------ Date: Mon, 2 Sep 2002 15:26:53 -0700 From: Chris Ryan Subject: Comment from a 17-year-old RS Reader I took a look at the Rolling Stone review online and noticed the following post, apparently from a 17-year-old: "first off i am 17 yrs old and love this album. unlike most of the music today, which mostly sucks besides korn, soad,disturbed, and the chillis, this album has some real meaning to it, and the guitars and rythym are amazing. now most kids my age listen to that rap crap, but to skip this album would be a tragedy for a true music fan. i keep listening to this and love it more and more, the highlights of the album are "waiting on a sunny day, "further on up the road" "the rising", "my city of ruins", this is one of the 3 best albums of the year so far, right there with the chilli peppers, and korn, i never thought to much of him before this, but this album totally kicks ass" If this is legitimate, it seems to me that Bruce's record company is missing an opportunity. I noticed that the sticker on "The Rising" listed "Mary's Place" as one of the highlights. If this is the kind of track they've decided to push, they're not going to get most kids to listen past the first few bars. How do you get this music out to young people? I don't have a clue, but the local (Vancouver) modern rock stations of course won't touch it. Chris ------------------------------ Date: Sun, 1 Sep 2002 22:00:27 -0700 (PDT) From: Tony Kuzminski Subject: My review of "The Rising" I've been meaning to send this in for a while, here is a review of "The Rising" that was posted online a little while back. http://www.rock103.com/news/wegr_newsmanager.php?id%167&pagecontent=musicf Bruce Springsteen: Rising Up Out of the Darkness By Anthony Kuzminski May the living let us in, before the dead tear us apart-"Worlds Apart" Preeminent music stirs your soul. Significant art has a way of communicating things that we, as humans, sometimes have tribulations communicating ourselves. This is simply a fact of life. People often have a high regard for influential art because it is an expression of the artist's psyche. However, when it comes to their own lives it is often complicated to express those feelings and in many cases, to make sense of them. The landscape of music the last few years have been like a desert. We have searched for something to satiate our thirst, yet when we reach the other side, we become conscious that there is nothing to drink but sand, which we imbibe anyways because it's our only choice. The drought is now over.E Street is back on track.with the arrival of Bruce Springsteen's The Rising. Out of the darkness has emerged an album of devastation, uncertainty, redemption, hope and resurrection. It is a carefully structured album with every song being essential and fitting to its place on the album. Springsteen has somehow managed to make sense of traumatic events that encompass our lives with 73 minutes that will move you and somehow bring tranquility to the soul. Springsteen was the last of the blessed trinity that defines American rock 'n roll. First came Elvis who shook your hips, and then Dylan came who stimulated the soul. By the time Springsteen released Born To Run in 1975, it was evident that he was the first rocker to stir your body, like Elvis, and satiate your soul the way the poet Dylan did. Very few performers can evoke such personal reactions from their fans the way Bruce could. His classic albums, Born To Run and Darkness On The Edge of Town, are scripture to me. These two albums defined his spot in the trinity of great American rock n' roll. The characters and their hopes, dreams and struggles are mine. No other musician has been able to profoundly tell stories about ordinary people the way Springsteen can. He makes everyday people's lives seem extraordinary. The Rising is a triumph is expressing and empathizing emotions. We are living in problematic times and Springsteen has somehow managed to take these feelings we all experience and has crafted 15 songs for us. His words extend into one's soul than most men of the cloth. This is more than just an accomplished album of 15 songs; this is an album that all other albums can be judged by. It's a triumph in its heartfelt meaning and better yet, its music evokes a sense of community rarely felt. These songs have resonated with me more than any other album in quite some time. More importantly, while listening to the disc, I don't cogitate about these songs...I feel them. This may very well be Springsteen's best-constructed album ever and easily his best since Tunnel of Love back in 1987. This is an album brewing over with emotion. What makes The Rising different from his albums of the last 15 years is that he has finally recorded an album of new material with the E Street Band. While Springsteen is easily one of the best storytellers around, he is always in peak form when his "Blood Brothers" are backing him. The themes on this album are ones he has only touched on briefly since disbanding the E Street band in the late 80's. His follow-up albums, Human Touch and Lucky Town, were largely relationship based. He ventured back to social issues with "Streets of Philadelphia" and The Ghost of Tom Joad, but those were both largely solo affairs, that the average person could not connect with. Springsteen has returned to what he does best, preaching to the masses backed by his homegrown choir, the E Street Band! For the last twenty years he has used them in a limited role. This is not necessarily a bad occurrence, he has made some incredible albums with them in a limited role (Tunnel of Love) and others with them virtually missing (Nebraska and Lucky Town). However, he also made an album that could have been improved upon by their participation (Human Touch). Bringing the E Street back into the fold has helped Springsteen's writing. His topics are broader than most of his work from the last fifteen years. More importantly, they have fleshed out these songs. His two solo albums in '92 lacked the extra punch the E Street Band may have given them. Human Touch was an album that fell flat mostly because of it's slick production style, whereas the greatly under appreciated Lucky Town suffered from the opposite effect. It was under produced. It may be his most personal album and arguably some of the best songs he has ever written came from it ("If I Should Fall Behind" & "Living Proof") but at the end of the day, it is essentially an elaborate home demo. If Bruce had decided to take the songs from The Rising down the same road as he did with Joad, this would have been a tough album to listen to. However, the E Street Band ventilates life to these songs. Instead of hearing defeat, you hear victory through Max Weinberg's roaring drums, Clarence Clemons's earnest saxophone, Steve Van Zandt's evocative backing vocals, Nils Lofgren's scrupulous guitar playing, Garry Tallent's driving beat, Patti Scialfa's harmonious and enduring voice, new member Soozie Tyrell adds color to the harmonies with her violin, Danny Federici's expressive organ playing and the fleshing out of melodies by Roy Bittan. They turn these songs from ones that could have been about a downfall into conquest. All of these instruments are brought together by the visualization of Brendan O'Brien, the producer. O'Brien has worked with Rage Against The Machine, Stone Temple Pilots, Bob Dylan, Neil Young and Pearl Jam. For my money, he produced what may have been the best album of the 1990's, Pearl Jam's Vs. He has also helped Springsteen, an artist thirty years into his profession; once again make a career-defining album. This is something that very few great artists have been able to do twenty years into their calling. In my opinion, only U2 (All That You Can't Leave Behind) and Bob Dylan (Oh Mercy, Time Out of Mind & Love and Theft) have made albums in the latter part of their career that can be the equivalent of their earlier music. He has updated the E Street sound without alienating the core fan base. He has pushed them further than they have ever gone before and the end result is a dulcet sounding album in which the ambiance is resonant. Many people have spoken of how this album is a bit all over the map in terms of sound and structure; nothing could be further from the truth. It may appear that way on an initial listen, but you have to listen closer. Springsteen has chosen to take 15 songs to tell a story in the same way a director piece together a film from numerous scenes. Some scenes work better in the context of the whole film, which is true of a few songs on The Rising. By themselves, they may fall flat on first listen, but within the framework of the album, not one song could be sacrificed. One must listen to this album from beginning to end, mush in the same way you will read a book. Being Catholic has affected Springsteen's life and work the same way it has affected director Martin Scorsese. Neither may be practicing Catholics, but the tones of their work are defined by this religion, which was tattooed on their souls as children. Whereas maybe Scorsese's films are a too much Good Friday and not enough Easter Sunday, Springsteen finds the perfect balance for these 15 songs, empathizing a resurrection at the end. Springsteen broke the album up into 3 sections: Good Friday, Holy Saturday and the Resurrection...Easter Sunday. The album is split into 15 chapters. Each one tells a different story. It is rare that you have a piece of music that is more like a piece of cinema. It's more than just 15 songs. The summation of The Rising's parts adds up to more than each song by itself. You will have to listen to it a few times for it to resonate in your thoughts and emotions. Part I: Good Friday Let kingdom come, I'm gonna find my way, Yeah, through this lonesome day - - Lonesome Day When Christ died on the cross, those devoted to him could think about nothing other than tremendous anguish. Little did they know, the three days later, he would rise from the dead. He sacrificed himself to cleanse the world of its sins. In the past year we have witnessed great tragedies much like those of Good Friday. Average ordinary people have made extraordinary sacrifices. In the midst of a tragedy, we try to make sense of what is going on and how long that feeling of hopelessness will stick with us. The first five songs on The Rising deal with misfortune and heartbreak. The characters in these songs are trying to find their way through the wreckage of their personal lives. In "Lonesome Day" the narrator simply tries to tell themselves that it will all be all right if they can just make it through the day. "Waiting On A Sunny Day" is a song that reminds me of "Hungry Heart", a great big hook and radio ready song, but with dark lyrics; "It's rainin' but there ain't a cloud in the sky Must of been a tear from your eye". The voice in "Nothing Man" is someone who has become a hero through surviving a tragedy. They did not save anyone or do anything, but has become a hero through survival. His guilt leads him to despair and an identity crisis. What is arguably the most powerful song on the album, "Into The Fire", is about a wife trying to make sense of the death of her husband, a fireman. I need your kiss, but love and duty called you someplace higher Somewhere up the stairs, into the fire This first group of songs tries to make sense of the tragedies in our lives whether it is alienation, loss of hope or death. Much like Christ's followers, the pain clouds the light at the end of the tunnel. The good news is that, there is always tomorrow. Part II: Holy Saturday The day in between Good Friday and Easter Sunday is one of reflection for most Catholics. For the characters in The Rising, this is where they take stock of their lives. They have come to the realization of their specific tragedy and are deciding where to go from there. I woke up this morning I could barely breathe Just an empty impression In the bed there you used to be - -"Empty Sky" The images Springsteen paints with his music are greater than any painting ever could be. The emptiness of someone missing from your life ("Empty Sky"); lovers divided by society ("Worlds Apart"); reconciliation ("Let's Be Friends"), to the release of sexual energies as remedy ("The Fuse"), these songs are all about trying to delineate where you are in your life, how to find reprieve from our predicament and most importantly and where we want to go. Now I've been out in the desert, just doin' my time Searching through the dust, looking for a sign If there's a light up ahead, well brother I don't know But I got this fever, burnin' in my soul So let's take the good times as they go And I'll meet you further on up the road - -"Further On Up The Road" Part III: Easter Sunday And on the third day, Christ rose from the dead. The Holy Weekend is the most important in the Catholic Church. It's a time of celebration for the savior has risen. This final section is, for my money, some of the best songs Springsteen and the E Street Band have ever laid to tape. These songs are the culmination of resurrection. Poetically speaking, it may not be as triumphant as Christ rising from the dead, but you would never notice from listening to the E Street Band roll their way through these 5 hymns. "Mary's Place" is a song that many fans felt was out of place on an album of reflection and redemption. However, it's essential to this album. It's about friends gathering together to possibly remember a loved one who has passed on. Familiar faces around me Laughter fills the air Your loving grace surrounds me Everybody's here Furniture's out on the front porch Music's up loud I dream of you in my arms I lose myself in the crowd It ends with the triumphant chant of "Let it rain, let it rain, let it rain, let it rain, let it rain". This is the turning point on the album. Not only is it celebratory in its sound, a throw back to the 70's E Street Band, but also in its lyrics. These lost souls have not only taken stock of their lives, but have decided to rise above the grief and the sorrow. The album takes a slight down turn with "You're Missing", a song about a loved one coming to the realization that her partner is not coming back and the need for her to get on with her life. Picture's on the nightstand, TV's on in the den Your house is waiting . . . for you to walk in But you're missing, you're missing However, the deep despair slowly rises into triumph and redemption with the title track of the album, "The Rising". At first it may appear to be strange that the title track is buried near the end of this album, but it makes perfect sense. Here is the resurrection we have been hoping for. The E Street Band takes this song and brings gives you a feeling of triumph, hope and innocence that has not been felt since the opening notes of "Thunder Road" twenty-seven years earlier. It's about a fireman who has lost his life and is now seeing visions of his life on his ascension. There's spirits above and behind me Faces gone black, eyes burnin' bright May their precious blood bind me Lord, as I stand before your fiery light It's also no mistake that the only character Springsteen names throughout all 15 songs is Mary. I believe this is the same Mary from "Mary's Place" and the same one full of innocence and hope in "Thunder Road". It's essential that these songs be placed at the end of this album. The innocence of "Thunder Road" is gone. Springsteen's characters grew up fast. They soon realized that there is a very cold and harsh world out there to be dealt with. It brings Springsteen's cannon of songs full circle back to a hymn of hope and redemption.yet looking and moving forward to the future at the same time. "Paradise" is an evocative song in which the E Street Band is largely absent. It's a song that sound-wise would have fit in on The Ghost of Tom Joad album. While some people may find this to be a turn off, this is one of the most picturesque tracks Springsteen has ever recorded. It begins from the point of view of a suicide bomber who believes they will reach paradise by sacrificing their life. As the song continues, the voice is that of a widow who has lost her husband and has decided to join him in "Paradise" only to realize that suicide is not an answer. I sink `neath the water cool and clear Drifting down, I disappear I see you on the other side I search for the peace in your eyes But they're as empty as paradise They're as empty as paradise I break above the waves I feel the sun upon my face In the end, she chooses life. Despite all of the sorrow and pain, she realizes that life itself is a gift and gives us our greatest potential at "Paradise". She can somehow see into the future and near the end of the long and winding tunnel, she sees a ray of light, something we too often don't see during traumatic times. The closing song on the album could be the recessional song at any religious ceremony, the stunning "My City of Ruins". It's a beautiful plea. The chanting chorus of "Come on, rise up" is as inspirational as any hymn ever composed. It's about a community coming together to "rise up". The sum of the people can outweigh grief and loneliness. It's a fitting end for the album; these characters have been beaten down, yet they are optimistic and hopeful at the end. They feel there are better days to come. More importantly, they have decided to go down life's road with vigor and passion even though they have been broken down. At life's roughest moments, we have to look inward and find the strength to carry on. This is what The Rising is all about. Christ rose from the dead and continued on his mission. We need to continue on our mission as well. While Springsteen may not be the savior like Christ was, he's a great prophet preaching from the pulpit with his electric guitar in hand.and the E Street band by his side helping him with his mission. Is there anything greater than a communal group of friends preaching faith, hope, love and redemption; has there ever been a better time for these themes? This is an extraordinary album for its songs of loss, hope and triumph. Nobody can touch these themes like Bruce. This is more than just an album of 15 songs; these are 15 prayers that we should take with us on our continued journey. Springsteen's poetic voice has found its stride and he has matched it perfectly with melodies that enhance the mood and feelings of the words. It is rare to find a piece of art that can evoke feeling so strong that...it gives you a redeeming feeling. The songs and emotions on this album are nothing short of a miracle. This album sums up basic the basic human condition, the desire for human touch. In our life, it is the associations that we make with other humans that define our life. Not our jobs, or the money we make, but when all is said and done, it is those feelings we share with others that tell us we are not alone. The community of friends and family can overcome life's obstacles. Artists like Springsteen create art and unleash it into this world for us to savor in the hope that we may take it and encompass it into our daily lives. Then it is more than just one man's journey, but my journey, your journey and those whom we choose to share our lives with. May the people we love inspire us to become greater people and to make life worth living.and on may we rise to the occasion of celebrating life right now, "Come on, rise up"! May your strength give us strength May your faith give us faith May your hope give us hope May your love give us love - -"Into The Fire" Anthony Kuzminski Rising Up __________________________________________________ Do You Yahoo!? Yahoo! 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