Welcome to the 12th and final day of our 12-day examination of the 12 songs on Bruce Springsteen's new album, High Hopes. As we indicated at the start, rather than a straight review, we're having a running dialogue based around each song as we listen to it.
So. Day 12, Song 12: "Dream Baby Dream."
***
Scott Peterson
Which brings us to the final song. The insanely verbose "Dream Baby Dream," which more than anything, is reminiscent of his first album, lyrically.
Dan Tapper
We saw him do this back in 2005, of course, when he closed every show with it on the pump organ. And it went in about 2 minutes from "What is this?" to "WOW."
Scott Peterson
Did you see him on his Devils & Dust tour?
Dan Tapper
I did. Twice.
Scott Peterson
Where? Hartford and Boston?
Dan Tapper
Yeah—Hartford and Worcester. Two weeks apart.
Can you please shut up now so I can hear the song?
Can you please shut up now so I can hear the song?
Dan Tapper
Hey, listen: Tom Morello! Remember him?
Tommy's dive-bombing again behind Bruce as he croons. Just like he started the album off.
Scott Peterson
Bruce just started singing and, yeah, you're right, some Morello bombs in the background. I've missed him so.
Dan Tapper
Now. This song has gotten some criticism for the production and the layers. Which I don't get. This song is all about layers.
Scott Peterson
Boy howdy, the guys in Suicide must absolutely love Bruce Springsteen. Even in these days of his albums selling a fraction what they did even 10 years ago, he's got to account for half their income this century.
Dan Tapper
Have you heard Suicide's original?
Scott Peterson
I have. I hadn't, but I have now.
I love that Bruce Springsteen loved Suicide. It's so incongruous to what most people think of when they think of Bruce Springsteen.
I love that Bruce Springsteen loved Suicide. It's so incongruous to what most people think of when they think of Bruce Springsteen.
Dan Tapper
Me too. I was...surprised...when I heard the original.
Scott Peterson
I'd never heard of them until he covered this back in 2005.
Then they were in 1001 Albums You Must Hear Before You Die. So I did. (And now I'm prepared. Which, I guess, was a bad move on my part?)
Dan Tapper
Me neither. But he was exploring punk—obscure punk—when most folks were barely discovering The Clash.
At the 1:30 mark the band comes in. Is that Max on drums/percussion? Almost sounds like fireworks.
Scott Peterson
Ayuh. You hear his NPR interview? Where he'd talk about how if he missed the last bus or train back to NJ, he'd go back to Max's Kansas City, back in like 1973, and watch the New York Dolls?
He was ground floor.
Dan Tapper
Of course he was. Seriously. He's always been ahead.
"I just wanna see you smile." I love this part.
Piano is heavenly.
Scott Peterson
No Max on this.
Just Bruce, Roy, Tom and Ron.
(And strings and horns).
Just Bruce, Roy, Tom and Ron.
(And strings and horns).
Dan Tapper
Oh, Ron on percussion, huh? OK.
Scott Peterson
I accept your acceptance.
Boy, this makes "Drive All Night" seem ridonkulously wordy, huh?
Boy, this makes "Drive All Night" seem ridonkulously wordy, huh?
Dan Tapper
HAH! It does! It's like an update on the long coda on "Drive All Night." "Through the wind...through the rain..."
Scott Peterson
Now I want to hear him sing other sparse songs, like "Pink Moon."
AND NOW I MUST MUST MUST HEAR BRUCE SPRINGSTEEN COVER NICK DRAKE.
My life can never be complete without that.
(I may overstate ever so slightly.)
Huh. Surprisingly quick fadeout.
AND NOW I MUST MUST MUST HEAR BRUCE SPRINGSTEEN COVER NICK DRAKE.
My life can never be complete without that.
(I may overstate ever so slightly.)
Huh. Surprisingly quick fadeout.
Dan Tapper
4:40—one more drop out. Lovely.
Scott Peterson
I desire to hear that again.
I like when his quickly strummed acoustic gets brought up in the mix. It's like a Townshend homage.
Dan Tapper
I do too!
Townshend is a good call.
Townshend is a good call.
Scott Peterson
"Come on dream, pinball wizard, dream."
Dan Tapper
His voice is like one that comes from down the hall at the start. So distant.
Scott Peterson
"I just wanna see you play."
Dan Tapper
"I just wanna magic bus...oh I just wanna magic bus..."
Scott Peterson
Interesting thought on the sound of his voice. I noticed that the first we hear percussion, it's sorta got that distant bullhorn effect he used so much on the vocals on the first few songs.
Well. That's a sweet way to end the LP.
Well. That's a sweet way to end the LP.
Dan Tapper
This will play well, I would say, when he tours.
Scott Peterson
See, I feel like this is the minimalist sparse zen koan like approach he was going for with "Heaven's Wall" but didn't come close to achieving. Here, however, he knocks it outta the park. He does so much with so little and it's so damn effective.
Is it the most upbeat of his recent album closings?
A lot of them ended either kinda dark, ala "Devil's Arcade" or with dark bonus tracks like "The Wrestler" and "Terry's Song" and "The Last Carnival."
Is it the most upbeat of his recent album closings?
A lot of them ended either kinda dark, ala "Devil's Arcade" or with dark bonus tracks like "The Wrestler" and "Terry's Song" and "The Last Carnival."
Dan Tapper
I thought he coulda done better opening the album, but you really can't beat the triple shot that closes it. The smoke and bombs of "Joad," the dead quiet of "The Wall" and the redemptive flare of "Dream Baby Dream."
Scott Peterson
"We Are Alive" was upbeat—very—but then he had "Belly of the Whale" bonus track.
Dan Tapper
"We Are Alive" was the most upbeat closer in the post-reunion era. Until now.
Scott Peterson
Yeah, good call. Actually, was it the middle of the album that was the real weak part? 'cuz the title track's okay, and i really liked "Harry's Place" and "American Skin." I think it was the middle that sagged. (Much like me.)
Dan Tapper
What did I say about "Belly of the Whale?"
Scott Peterson
That you want "Belly" played at your wake? Just it, on a loop, and nothing else?
Dan Tapper
WE DON'T TALK ABOUT BELLY OF THE WHALE! Check your rulebook.
Scott Peterson
Shoot. I get those two instructions confused.
So it's "The Angel" you want played on a loop? Or "Real Man"?
Dan Tapper
You are a cruel man.
Weakest tracks on the album, in no order: "Heaven's Wall," "This is Your Sword" and the title track?
Weakest tracks on the album, in no order: "Heaven's Wall," "This is Your Sword" and the title track?
Scott Peterson
Definitely "Heaven's Wall" and "This Is Your Sword."
I find the first few covers okay but not fantastic.
I liked "Down in the Hole" more than most, I think.
"Hunter of Invisible Game" is okay.
I find the first few covers okay but not fantastic.
I liked "Down in the Hole" more than most, I think.
"Hunter of Invisible Game" is okay.
Dan Tapper
Best tracks (new and original) "The Wall," "Frankie" and "Down in the Hole." (Yes, I have come around on that.)
Scott Peterson
Know what? This should have been a long EP maybe, or a really short LP.
Dan Tapper
I really like "Hunter." Makes me juant to waltz with you. Naked.
Scott Peterson
You're just saying that 'cuz you know how I feel about most 3/4 and 6/8 songs. Now, 9/8...
Here's what I think I might have pared the album down to. And in homage to Led Zeppelin, I would have still titled it High Hopes even though the title track wasn't actually on the LP.
Harry's Place 4:04
American Skin (41 Shots) 7:24
Down in the Hole 4:59
Frankie Fell in Love 2:48
The Ghost of Tom Joad 7:34
The Wall 4:20
Dream Baby Dream 5:02
(That would not necessarily have been the running order.)Here's what I think I might have pared the album down to. And in homage to Led Zeppelin, I would have still titled it High Hopes even though the title track wasn't actually on the LP.
Harry's Place 4:04
American Skin (41 Shots) 7:24
Down in the Hole 4:59
Frankie Fell in Love 2:48
The Ghost of Tom Joad 7:34
The Wall 4:20
Dream Baby Dream 5:02
What's your feeling on "Harry's Place"?
Dan Tapper
I dunno. I like the collection and the effort. I know what it is, indeed. A minor work. First one in a long time. But I think the mishmash works.
Scott Peterson
I like "Harry's Place." I just don't get it. And I can't play it when the kiddies are around, for they have never heard such language, for they are my offspring.
Dan Tapper
I still like "Harry's Place." But it's just so different from everything on the record. Like "Further on Up the Road," kinda.
Scott Peterson
As you pointed out, "American Skin" and "Tom Joad" alone are nearly as long as a short LP side from the 70s, just the two of them.
Interesting call on "Harry."
Dan Tapper
Isn't that amazing? How much time those two take up all by themselves?
Scott Peterson
You're not wrong.
Dan Tapper
"Harry" is the only thing that sounds new. I know it's not, but it does.
All this said? The best of all tracks on this record is "The Ghost of Tom Joad." It's pretty insane what he and Tom do to it.
All this said? The best of all tracks on this record is "The Ghost of Tom Joad." It's pretty insane what he and Tom do to it.
Scott Peterson
Hm. I am not sure I'm willing to go that far, just because I like "The Wall" and "American Skin" so much. But daggum if it's not fantastic.
Dan Tapper
So I gotta tell you, overall I like the record. Yes, I know it is not a major piece of work for him. And you are very right when you say the hodgepodge nature is at the very least disconcerting. But I do think he has found some thematic consistency. Thanks to generally strong material, the contributions of Mr. Morello and (Brendan please forgive me) Ron Aniello's handiwork. So the songs don't necessarily tie together, but the sound does. Does that make sense?
Scott Peterson
I think so? I'm not entirely sure the sound's always a good thing, though—as we discussed, there's way too much of the bullhorn effect. And to some extent, I think how good the best songs are serves to make the less good ones seem even worse. I mean, look, "Heaven's Wall" is catchy. But you put it next to "The Wall" or "The Ghost of Tom Joad" and it's ridiculously anemic.
But, again, even "Just Like Fire Would," a fine song, suffers by being on the album with "American Skin." Even the lighter songs on The River or Born in the USA, upon close readings, usually reveal themselves to actually have very serious subtexts—the protagonist of the silly ditty "Working on the Highway," por ejemplo, is in prison, having either been railroaded by politically connected individuals...or for having transported a minor across state lines for lascivious purposes. It's got that desperation that ties in to every other song on the album, including the self-loathing "Dancing in the Dark." I'm not so sure this album has anything to tie seemingly disparate threads together.
Which, again, goes back to both the odds and sods nature of the record and what I arrogantly see as the need for it to have been cut way the hell back. And how, in some ways, a legend of Bruce Springsteen's stature is in a no-win situation. (Not that most of us wouldn't give our eyeteeth to find ourselves in such a predicament.)
But, again, even "Just Like Fire Would," a fine song, suffers by being on the album with "American Skin." Even the lighter songs on The River or Born in the USA, upon close readings, usually reveal themselves to actually have very serious subtexts—the protagonist of the silly ditty "Working on the Highway," por ejemplo, is in prison, having either been railroaded by politically connected individuals...or for having transported a minor across state lines for lascivious purposes. It's got that desperation that ties in to every other song on the album, including the self-loathing "Dancing in the Dark." I'm not so sure this album has anything to tie seemingly disparate threads together.
Which, again, goes back to both the odds and sods nature of the record and what I arrogantly see as the need for it to have been cut way the hell back. And how, in some ways, a legend of Bruce Springsteen's stature is in a no-win situation. (Not that most of us wouldn't give our eyeteeth to find ourselves in such a predicament.)
Dan Tapper
All very fair and extremely well put.
So I will leave it at this: I am grateful that at 64 Bruce is still putting out music that makes people think, pause, wonder, ponder and debate. He can still evoke and provoke, he's still trying new things, he's still writing from that same tireless place he's always called home, and he can still hold our attention by sheer force of will, even on the lesser tracks. And on the stronger tracks, no one but maybe Bob Dylan can still sound so inventive and, even, downright revolutionary in the final 3rd of his life. Paul Simon hasn't and, likely, can't. Paul McCartney isn't. Sadly Stevie Wonder hasn't for a long time. Bruce Springsteen still is.
Damned if that ain't impressive as all get out.
So I will leave it at this: I am grateful that at 64 Bruce is still putting out music that makes people think, pause, wonder, ponder and debate. He can still evoke and provoke, he's still trying new things, he's still writing from that same tireless place he's always called home, and he can still hold our attention by sheer force of will, even on the lesser tracks. And on the stronger tracks, no one but maybe Bob Dylan can still sound so inventive and, even, downright revolutionary in the final 3rd of his life. Paul Simon hasn't and, likely, can't. Paul McCartney isn't. Sadly Stevie Wonder hasn't for a long time. Bruce Springsteen still is.
Damned if that ain't impressive as all get out.
Scott Peterson
To my surprise, I will disagree with you somewhat on the Macca front—I think he is still trying new stuff, especially his work with The Fireman, although it doesn't necessarily move me as much as I wish—but as for the rest, I think you're dead on the money.
Since I'm not sure I made this clear: of course I'm glad he put this record out. It's a fine addition to his catalog. And if I think it could have been made a bit better with some judicious editing, well, I'll very much take a very good album every year from him over having to wait five years for a masterpiece. Without question.
Since I'm not sure I made this clear: of course I'm glad he put this record out. It's a fine addition to his catalog. And if I think it could have been made a bit better with some judicious editing, well, I'll very much take a very good album every year from him over having to wait five years for a masterpiece. Without question.
Dan Tapper
In other words, I was right. Now, was that so difficult?
No comments:
Post a Comment