Read the entire list at Rolling Stone:
Read the entire list at Rolling Stone:
A friend of mine just posted Booker T. and the M.G.’s “Green Onions” on Facebook with the comment: “Sometime you just need a song that says everything. I am hard-pressed to think of a better song for that purpose than this one.”
Nice work, Dan!
Vote at the Asbury Park Press. The ballot includes song by Bon Jovi, Count Basie, The Four Seasons, Gloria Gaynor, Connie Francis, Whitney Houston, The Isley Brothers, The Misfits, and Patty Smith.
Check out Ashley Layne‘s Substream Magazine interview with Bob Crawford, bass player for the Avett Brothers. Then go to Episode 53 of The Way of Improvement Leads Home Podcast and listen to our interview with Crawford.
Here is a taste of Layne’s interview:
So the band definitely has southern roots and deep ties to an historically conservative state, was there hesitation at all to include songs like “Bang Bang” and “We Americans” on the album? Were you scared of being too pointed and divisive?
Well, no. There was a conversation about “Bang Bang” with Scott and Seth. You know what’s great about it is, it’s a conversation starter. So, I think that needs to be pointed out. I think it also needs to be pointed out that the song is written from a personal viewpoint of a real-world situation. So, I think that is important to recognize, as well. This is a song that was good for us as a group, mainly Scott and Seth, because it allowed them to engage in a difficult conversation.
I look at “Bang Bang” and “We Americans” differently. I fell in love with American History in 2004, and I began just reading. I started with the David McCullough books. I had a curiosity about American history that I still have to this day. I have a history podcast called The Road to Now; it’s something I am very serious about. I am getting my masters in history, so when I heard “We Americans” that Seth wrote, I knew Seth was reading Henry Adams so I was like, ’Oh, this is the natural result of Seth reading Henry Adams.’ Henry Adams has the greatest prose of any historian on the face of the planet. To read his historical text is to read literature it’s so beautifully written. Seth also writes beautiful prose and he’s a wordsmith, so, yeah, of course (Seth) nailed the content.
When you read history there were narratives that were, until the past 50 years, not told, but were real narratives. “We Americans” checks out. I often said to Seth, I hope you have a bibliography for this song because historians are gonna want to see it.
I put “We Americans” in the bucket with “This Land is Your Land.” And I think what’s great about “We Americans” is it goes from the idea of patriotism to paying tribute and respect. So the saying I always have is: the good, the bad, the ugly of American History. Being an American, you need to be able to recognize and somehow deal with the good, the bad, and the ugly of American history. I think what “We Americans” does, it recognizes that we need to have a certain love of our country and patriotism, but the song ends with recognizing love of God as being greater than love of country and love of one another as being greater. That’s what it means to me. I think it’s a great song. And, I think it’s a lot different than “Bang Bang” in terms of what’s controversial about it. I don’t think the subject matter of “We Americans” is controversial at all, I don’t think it should be.
Read the entire interview here.
Eric Alterman, a professor of English at Brooklyn College, is a contributor to the recently released collection Long Walk Home: Reflections on Bruce Springsteen (Rutgers University Press, 2019). His essay in the book is titled “Growing Up With Bruce Springsteen: A Fan’s Notes.” Here is a taste of an excerpt of that essay published in today’s New York Times:
Bruce Springsteen is the son of Catholic parents and grandparents. There is no ambiguity on this point. And yet, in much the same way that New York football fans have casually annexed the stadium across the river to root for what they like to pretend is their “home” team, some Jewish Springsteen fans are devoted to proving that New Jersey’s favorite Irish Italian son is, if not actually Jewish, nevertheless somehow Jew-ish. Perhaps you thought young Bruce was mostly singing about cars, girls, and getting the hell out of town before he switched gears to focus on the dignity of working folk, the broken promises of the American dream, and more cars and girls. But amid the empty factories, crowded barstools, and swimming holes that constitute the foundation of the Springsteen oeuvre, some detect a whiff of the Chosen.
Read the rest here.
The Boss turns 70 today.
I don’t have time today for original commentary, so here are a few good things online:
The 50 best Springsteen covers on his 70th birthday. (TWOILH reader Barton Price contributed to this list!0
Brian Hiatt, author of Bruce Springsteen: The Stories Behind the Songs, offers seven thoughts.
National Public Radio features a new edited collection on Springsteen out with Rutgers University Press.
Billboard offers 18 reasons to celebrate Bruce’s birthday.
Nj.com has completed its list of the 70 greatest Springsteen songs.
Jonathan Cohen, editor of the aforementioned edited collection, shows how Democratic presidential candidates are using Springsteen’s music.
Springsteen’s most recent album, Western Stars, will be the subject of a music documentary that Warner Brothers will release this Fall. Here is Variety:
Warner Bros. has nabbed global rights to “Western Stars,” the upcoming music documentary co-directed by Bruce Springsteen. The film will be released on the big screen and will open in theaters this fall after its world premiere at September’s Toronto International Film Festival.
“Western Stars” is Springsteen’s first studio album in five years and the film marks his directorial debut. It weaves in archival footage along with Springsteen’s narration, and shows him performing all 13 songs on the album, alongside a band and a full orchestra, in a nearly 100-year-old barn on the singer’s property.
The film was also overseen by Thom Zimny, a frequent Springsteen collaborator. Zimny directed the Boss in “Springsteen on Broadway” and “Bruce Springsteen: Hunter of Invisible Game” (2014), and picked up a Grammy Award for “Wings on Wheels: The Making of Born to Run” (2005).
“Bruce lives in the super rarified air of artists who have blazed new and important trails deep into their careers,” said Toby Emmerich, chairman of Warner Bros. Picture Group. “With ‘Western Stars,’ Bruce is pivoting yet again, taking us with him on an emotional and introspective cinematic journey, looking back and looking ahead. As one of his many fans for over 40 years, I couldn’t be happier to be a rider on this train with Bruce and Thom.”
Read the rest here.
Look, if there’s one thing I don’t even try to “play it cool” about it’s my unadulterated love for Bruce Springsteen. I’m sort of partially serious when I claim that back in 2004 I moved to New York City for more access to Springsteen concerts. (My number of shows attended has ballooned substantially over the last 15 years.) Anyway, somehow, in all this time, I have never been to Asbury Park, New Jersey. On Wednesday night, Blinded by the Light – a love letter of a movie about the music of Bruce Springsteen that I first saw back at Sundance and adored – was having its premiere in Asbury Park. This seemed to be a good time to go to Asbury Park.
So, here’s a little bit of backstory about Bruce Springsteen and this movie: Blinded by the Light, directed by Gurinder Chadha, is based on Sarfraz Manzoor’s book about growing up in a Pakistani family while living in English town of Luton and falling in love with Springsteen’s music. Springsteen pretty much gave this production full access to his catalog – using a Springsteen song in a movie usually costs a pretty penny – and, boy, Blinded by the Light did not skimp on the Springsteen music. So, of course, when Blinded by the Light premiered at the Sundance Film Festival, there were countless rumors Bruce himself would be making the trip to Park City, Utah.
Now, I’ve seen Bruce roughly 26 (maybe 27, I haven’t counted recently) times but I’ve never caught one of his “secret” or “rumored” shows. Basically, let’s say, oh, Joe Grushecky is playing a gig at The Stone Pony or Wonder Bar in Asbury Park, there’s maybe a five percent chance Bruce shows up to just jam. This will never, ever be announced. And most of the time you’re just going to wind up getting a full Joe Grushecky set. But, on those rare occasions, the lucky people there will get to basically be transported back in time to the early 1970s, before Born to Run, where they get to see Bruce Springsteen just hanging out in a bar playing guitar. It’s every Springsteen fan’s dream.
Read the entire piece here.
And here is a glimpse of Springsteen’s mini-concert with Southside Johnny on Wednesday night:
Masur teaches history at Rutgers University and is the author of Runaway Dream: Born to Run and Bruce Springsteen’s American Vision. This Fall he is teaching a course titled “Springsteen’s American Vision.” In this short interview, Masur talks about the course:
What can students learn in your course about why Springsteen’s music is so important?
“I begin the course with Elvis Presley, then go into Bob Dylan, and then most importantly, Springsteen. I want students to understand how each musical icon was directly inspired by the greats before them. I also want them to see how music plays a vital part in protest and activism as each of these musicians have inspired and created change. I have to push against the idea that this course will be easy, so I assign lots of reading and writing assignments that force students to engage the work and make critical arguments about its meaning.
“Great musicians are always in conversation with what’s going on in the culture and in individual lives. Springsteen once said his life’s work was “judging the distance between American reality and the American dream.” Springteen’s album “Wrecking Ball,” for example, was about the recession of 2008, and it told the stories of people who lost their homes and their path on the American dream. His album “The Rising” offered a reflection on the 9/11 attacks. His music helps us answer questions like “how do we survive?” and “how do we go on?” Good music inhabits the lives of others and tells moving stories like great fiction. Every generation will go through a deep hardship where they search for meaning, and great music will help them get there.
“There is also the other side of Springsteen I want students to know and that is what rock n’ roll is all about. Rock n’ roll offers release and works as a catharsis during tough times. It brings people together and it forms a community. That’s the side of him that explains why he has so many fans who return to his work time and again. At live shows, they feel transformed. I want my students to understand that and to experience it.”
Read the entire piece here.
And he has also released some live performance footage form 1973. Here is Spirit in the Night:
Here is a taste of a Scott Bernstein’s coverage at JamBase:
Bruce Springsteen dug into his archives and has started to upload live performance footage filmed in 1973 to his YouTube channel. Additionally, Springsteen called into SiriusXM’s E Street Radio and revealed a film based on his recently released Western Stars studio album is coming by the end of 2019.
“We made a film of us playing the Western Stars album start to finish, plus some other things,” The Boss said as per Variety. “I knew we weren’t going to tour, so I figured this was the best way to do it.” Springsteen explained the film was directed by longtime collaborator Thom Zimmy. “[The film] is looking good — that will be exciting,” the 69-year-old musician said.
On May 1, 1973 Bruce Springsteen and his band played the 2,000-capacity Ahmanson Theatre in Los Angeles as the opening act for Dr. Hook & The Medicine Show and New Riders of The Purple Sage. The band, which wouldn’t be known as the E Street Band until September of 1974, featured original drummer Vini Lopez as well as saxophonist Clarence Clemons, bassist Garry Tallent and pianist Danny Federici. The Boss unveiled professionally-shot footage of “Spirit In The Night” and “Wild Billy’s Circus Story” from the Ahmanson Theatre concert on YouTube.
“Spirit In The Night” features Springsteen on piano, while “Wild Billy’s Circus Story” sees Bruce playing acoustic guitar. Bruce Springsteen recorded a studio version of the former for inclusion on his 1973 debut album, Greetings From Asbury Park, which came out four months before the concert in Los Angeles. A studio version of “Wild Billy’s Circus Story” would make it onto The Wild, The Innocent & The E Street Shuffle when the LP was released in November of 1973.
I am really enjoying Bruce Springsteen’s new album Western Stars. Like I usually do when Springsteen releases a new album, I have been listening to Western Stars on repeat. (It has been nice to take a break from the Hamilton soundtrack). Last week I was walking and riding around Rome, Positano, San Felice-Circeo, Sorrento, and Capri listening to the album. Western Stars was released on June 14, 2019. I am guessing I have listened to it about 100 times so far. In fact, I am listening to it as I type these words.
So far my favorite song–the last on the album–is “Moonlight Motel.” Springsteen tells the story of an old roadside motel somewhere in the west. The narrator spent a lot of time at the motel with a woman he loved. The relationship is now over (did she die?) and the man reflects nostalgically on the old motel:
I am struck by the layers of nostalgia in this song. Obviously the Moonlight Motel was new once. The pool was filled with water. The fence was not rusted. Children played on the property. One could easily write a song about how the motel has faded and become just another run-down stop in a place on a “blank stretch of road.” That would be one kind of nostalgia.
But Springsteen longs for the run-down days of the Moonlight Motel, when the pool was empty, the flowers were wilted, and the rooms were musty. This was the motel where he fell in love. Springsteen likes to write about things that are in ruins.
And let’s not forget that the entire album draws upon a 1970s California sound that is not around anymore and for which Springsteen seems nostalgic. This is the music of Glenn Campbell (listen to “Sundown”), Jimmy Webb, and Burt Bacharach (listen to “There Goes My Miracle”).
So many layers.
Also, why is Bruce wearing an Eagles hat?
This is a great piece by Canadian writer and poet Carter Vance. Here is a taste of his The Smart Set piece, “Walk Like a Man: What I Learned from Bruce Springsteen“:
For all the working-class power bona fides in Springsteen’s music, though, I still come back to the men that populate the stories he tells. In many ways, they are traditional masculine archetypes, guys who work physical jobs during the day and burn rubber in big cars at night, but they are also so much more. By turns, they are sensitive, loving, defeated, angered, worldly enough to know they cannot speak for everyone but trying to better their empathy nonetheless. With the modern search for a model of masculinity which is untainted by toxicities of misogyny, homophobia, and other forms of bigotry, the greatest hope that the men in Springsteen’s songs give us is that this is possible. They are still distinctly masculine, but in a way that allows in complexity of feeling, solidarity with those different from them (not for nothing was Springsteen drafted to write and perform the title song to Philadelphia, the first mainstream American film to deal sympathetically with the AIDS crisis) and loving, loyal connection to their families and communities.
In short, the Springsteen man, if not necessarily Bruce Springsteen himself, is someone I keep aspiring to be.
Read the entire piece here.