The Wall

Welcome to Day 11 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 11, Song 11: "The Wall."

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Dan Tapper

Such a delicate opening. Kinda countryish. Reminds me of Keith Whitley.
Interesting. He's written about Vietnam overtly before. But never with such...quiet. Even "Shut out the Light" is louder.

Scott Peterson

I was thinking "Brothers Under the Bridge."
I find this much more melodic, and therefore effective, than some of the other similarities he's released   this century, even things I like.

Dan Tapper

This is just lovely. Incredibly moving how understated and slight it is.

Scott Peterson

Something about the sound reminds me of "The Last Carnival." Maybe it's just the name Billy.
His voice is so tremulous, as opposed to the gruff growl of "Ghost of Tom Joad."

Dan Tapper

Interesting you mention "Carnival." Because this song goes from very good to grabbing ahold of greatness  at the 1:21 mark. Danny.
Listen to this solo. God this is beautiful.
Echoes all the way back to "Independence Day."

Scott Peterson

Is this the quietest song to ever feature the (almost) entire E Street Band?
I love Curt Rahm's tone.
Bruce on drums, Max on percussion—an unusual combination.

Dan Tapper

"If your eyes could cut through that black stone, tell me would they recognize me?" Wow does that hit   me.

Scott Peterson

Good call on "Independence Day."

Dan Tapper

Good call about the whole band.

Scott Peterson

Or "Racing in the Street."

Dan Tapper

And holy crow does Curt take this song up into the clouds. Stunning.

Scott Peterson

No need for that kind of language.
Okay. That song's definitely in the top half of the LP for me. Easily.
I wonder if this is the same Billy from "The Promise."

Dan Tapper

I think this is the best "new" song on the album. Excluding "American Skin" and "Tom Joad." It is a legit  great Bruce Springsteen song. If we were doing our Top 50 list now I would give it very strong  consideration.

Scott Peterson

He got drafted out of the factory, sent off to some foreign land.

Dan Tapper

I was wondering the same thing!
Max rolling in at the end, almost with a mournful military cadence. And Danny drifting in one last time.
Man that was gorgeous.

Scott Peterson

"I'm sorry I missed you last year—I couldn't find no one to drive me" is amazing writing.
How clear it makes it that Billy's not the only one who paid a steep price.

Dan Tapper

It sure is. Makes it clear Bruce is playing a character again. Which he of course tends to do in his "war"  songs.

Scott Peterson

It's interesting that he says there's no apologies or forgiveness welcome here at the wall, and yet the  tone, overall, is mournful, quiet, tragic, with barely even a hint of anger.

Dan Tapper

I just can't get over how cosmically brilliant Danny and Curt are together on this. And they...were they in the same room? Or did Bruce splice Curt in long after Danny was gone?

Scott Peterson

I suspect he added Curt recently. Long after Danny died, much less recorded this.

Dan Tapper

 And yet the interplay is so wondrous.
"I read Robert McNamara says he's sorry." Leonard Cohen-like. Or Lou Reed.
This song pushed every button for me.

Scott Peterson

That line, right after "laughin' at your ship-out party" is devastating.
Ayuh. This is a good 'un and a half. As someone on Bruce's Place said, it's perplexing this wasn't a b-side off The Rising, which, I think, is what it was recorded for.

Dan Tapper

There's a level of survivor's guilt here too, right? To some degree? "You're gone and I'm still here."
This would have been a perfect B-side to "The Rising." Its "Shut Out the Light," if you will.

Scott Peterson

 I wonder. I get the feeling the narrator is aware that he's paid a pretty damn big price too. That, yeah,  living's better than not, but the way he's living ain't exactly all the grand.

Dan Tapper

I mean its "Shut Out the Light." As in its equivalent to "The Rising"/"Born in the USA" and such.
So to sum up "The Wall," this is an absolutely perfect song. So rich in what he wants to—needs to—say. Yet so simple too.

Scott Peterson

"The Wall" starts off like it's going to be one of his solo acoustic tracks, ala "Mary, Queen of Arkansas"  or "Cautious Man" or " The Last Carnival," but it slowly and quietly and powerfully builds, going past  those and into Ghost of Tom Joad LP territory...and keeps going until it's more like "Wreck on the  Highway" or "Paradise."

Dan Tapper

And Danny and Curt, in some kind of heavenly pairing, make it so. 
Great call. By the time it ends we're talking about "Wreck on the Highway" level. And "Paradise" and "Independence Day" too.

Scott Peterson

Yes, but I also meant tonally—it feels like it's in that neighborhood in terms of actual sound.
You know, I've seen some think it's one of the weaker cuts on the album. To which I say "crack is wack."

Dan Tapper

Amazing what some don't go for. These are the types who go nuts when he plays "Jackson Cage" but  head for the men's room during "Jack of All Trades."
(I saw that very scenario happen last tour, BTW)

Scott Peterson

There's no accounting for taste. Just ask my good lady wife. Also, you should probably hang around in the men's room a little less during Springsteen concerts. Just sayin'.

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COMING TOMORROW—TRACK 12 FROM HIGH HOPES: "Dream Baby Dream"