Tag Archive: Bruce Springsteen

When my wife and I lived in New York City, the church we went to in Greenwich Village was just a short walk from the Hudson River. After church when the weather was nice, we would take a walk down to a pier there and just stare out at the water for several minutes. As I gazed across the river, I saw Jersey City, thinking it was actually pretty amazing that just a quick ferry ride away was a different state. I grew up in the Pioneer Valley of Massachusetts, where Connecticut was about 45 minutes south. When I was a kid, 45 minutes seemed like a long time to be sitting in a car. Every other state border was characterized as “there be dragons.”

New Jersey is so close to New York City that some people characterize it as “pretty much New York.” I know New Yorkers (like Ted Mosby) get really offended at that, and with good reason. Jersey residents ought to get even more miffed by it. I can think of few things more degrading than having your identity be defined by your proximity to something else. Still, some of the Jersey shore exists in the shadow of Manhattan. Heck, there’s even a subway (the PATH) that goes from certain places in Manhattan to several Jersey destinations, and it’s cheaper than the MTA! It cost less money to cross a state border than to go from West 4th to Rockefeller Center; go figure.

Bruce Springsteen is New Jersey through and through. His song “Meeting Across the River” tells a tale of a Jersey boy going through the Lincoln Tunnel to meet a guy in Manhattan about a drug deal. Mind you, drugs are never mentioned explicitly in the song, and that’s because it’s not about drugs – as is the common theme for the entire Born to Run album, “Meeting Across the River” is about freedom. This time, it’s money that gets you that freedom. The main character wants to score $2,000 and throw it on the bed for his fractious wife to see; maybe then she’ll see he “wasn’t just talkin’.” So money can buy more than just freedom, according to the hopes of the narrator: it can buy respect, too.

AZO0224C_31.tifIt’s worth noting, too, that no mention is made in “Meeting Across the River” of what happens when the drug deal goes down. It’s all before that happens, all optimism and “this is our big chance.” But Bruce definitely isn’t averse to grim reality, even though he dodges it in “Meeting Across the River.” “Backstreets” talk about homelessness and hopelessness, and “Jungleland” is an epic story about gang wars. They both feature sky-high anthemic melodies, instruments right up in the front of the mix, and Bruce singing like his life is on the line. He plays “Jungleland” like he believes the world will end when it’s over. He pours every ounce of energy, emotion and pathos he has into it, and it’s simply amazing he has anything left.

Until the emergence of CDs as the medium-of-choice, albums needed division in order to function properly. In both LPs and cassettes, there was “side A” and “side B” in order to accommodate the flipping of the vinyl or tape. You didn’t have to do that with CDs, though; they just played until the end. You had options, too. Never before could you skip to a certain song by pressing a button a bunch of times. You could also make the songs play in a random order, also at the touch of a button, or program them to play in whatever order you wanted. You could even make the album repeat endlessly. Now we have MP3s and iTunes and we just take those features for granted, but back then it was like we were all astronauts rocketing off into the future.

When division was necessary, though, artists always needed to make sure the music on side A was generally equal in length to that on side B. Some artists took it a step further and used vinyl flips to make artistic statements.

Bruce Springsteen was great at this. Born to Run is structured with this division in mind, both sides existing in a double continuum. They each start off with bright and optimistic tunes (“Thunder Road” and “Born to Run”), being symbolic of morning and new hope. The afternoon comes (“Tenth Avenue Freeze-Out” and “She’s the One”), the troubles of the day increase, but you’re still going strong. Then the sun goes down (“Night” and “Meeting Across the River”) and another world emerges, and finally there’s midnight (“Backstreets” and “Jungleland”) that brings pessimism and a dark downward spiral. But new hope emerges with the next side, and also when you start the album over again.

After the tepid success of his first two albums, Bruce was pinning all his hopes on Born to Run. He has said he wanted it to “explode into people’s homes.” He wanted to take over the music world with this album, but he didn’t have dollar signs in his eyes. He wanted to change lives. That initial desire wasn’t fulfilled – there was no explosion – but something much better came later. Now, Born to Run is one of the most respected albums of all time. It’s pointed to by magazines and music critics as one example of how an album should be done. It’s also one of the best loved pieces of music in the last 50 years.

Born to Run may not have exploded into our homes, but it did seep in through the roof, coat the walls, stain the wood and get in the upholstery of our furniture. It’s in our speakers, in our hearts, and always will be.

Next: Pink Floyd wondering aloud “How did we get to this crazy place?”

Cars and Bikes

Bruce Springsteen is the common man’s champion. He sings about things the common man can understand. By that I don’t mean all his songs are about trucks and beer and your girlfriend leaving you – that’s the domain of country music. No, I mean that Bruce’s music is devoid of philosophizing, pretension or high-minded vocabulary. Those things do have their place, but it’s not in a Springsteen song. He’s a rock star, no doubt, but with Bruce, you get the feeling that you could be a rock star, too. That’s something that no artist had been able to do since the Beatles came to America in ’64.

One of those very common things Bruce sings about is the car. Cars are things which at one point or another enter all of our lives. Most American kids have very vivid memories of when they were 16 or 17 and getting their driver’s license.  It’s a mile marker in a person’s life, but it’s also a rite of passage. It’s one of the biggest times that parents say to their children “you have grown up, or at least grown up enough for this.”

I am McLovin

I am McLovin

My own driver’s license experience was not like that, though. I got my learner’s permit like a normal kid at 15, and progressed through the normal learning process, my mother as my primary teacher. When I went to the DMV in Northampton a year and a half later, I was a bundle of nerves. Back then, road tests were given by Massachusetts state troopers, and the one I got was as clichéd as they come. He was old, had a little bit of paunch and a face that only a mother could love if she was bombed out of her gourd. He had steely grey hair and a gravely, unpleasant voice. He set me on edge even more than I already was.

He got in the passenger seat, checked a few things like my knowledge of the rear-view and side-view mirrors. He then purposely confused me about my hand signals, and then told me I better get out on the road to start the test. The lanes in the parking lot were one way, and when I backed out of my parking space I was pointed the wrong way. I didn’t even get all the way out of my space when I realized my error. I was going to pull back in and back out the right way when he spoke.

“You’re going the wrong way on a one-way. That’s a violation of law, son. I can’t give you a license if you’re violating laws.”

He then proceeded to give a lecture about how driving is a privilege that I need to take seriously. He wrote FAIL on my permit, and got out of the car. I was flabbergasted, and so was my mom in the backseat. It still burns a little when I think about it… Not even out of the parking space!

I tried again about 6 months later, and got a different cop. She was energetic and pleasant, but tightly wound, so I was on edge again. It went alright for a while (I got out on the road this time), but a bunch of little things I was doing wrong started stacking up. When I came to a rolling stop at a stop sign, it was more than my state trooper could take. She came down on me pretty hard for that. She failed me again, but I failed on my own merits that time.

I went for a third time when I was 19, home from college for the summer. It was in my grandpa’s car, which I had never driven before – strike one. The DMV was in Hadley this time, which is an easier route, but I got the same freakin’ state trooper as the first time! Strike two – that’s two before the test even starts. Strike three came when I failed to yield right-of-way at an intersection. Needless to say, I got another lecture, in addition to a third FAIL on my permit.

I was resigned to live the rest of my life without a driver’s license, and went through college scorning the license as an unnecessary decoration. My self-worth didn’t derive from a rectangular piece of plastic in my wallet – or that’s how my snooty philosophy went, anyway. Years passed, I got cancer, I graduated from college, and I got married. My wife encouraged me again to get my license, but she took a different tack than the rest of the people who tried to push me in that direction in the past. Her angle was “I wanna see you prosper and flourish, and a licensed you is a better you.” I bought that. So I went to a driving school, had a perfect lesson, and had a perfect road test. It was in the driving school’s car, and the state trooper (a new one) spent most of the test chatting with the owner of the school that was in the backseat.

And that’s how I got my license at 28 – fourth time’s the charm.

My wife was right – if I never got my license, like I was planning to in college, I wouldn’t be as good a me as I am. I wouldn’t be as good a husband (I take the car to do grocery shopping and laundry), and I wouldn’t understand a very important part of rock and roll music.

Bruce Springsteen uses cars and driving as a metaphor for freedom, and it’s a very easy leap to make – more like a puddlejump. Since I actually drive now, I get the freedom and exhilaration of having nothing in front of you except miles and miles of blacktop. In “Night,” a young man finds triumph over his surly boss and dead-end job in racing his car against other young guys, a la American Graffiti. And it’s not just the racing – it’s the whole environment. It gives a glimpse of this world being a whole lot bigger than a crappy day job.

In the same way, the song “Born to Run” takes a youthful environment and transforms it into a metaphor for escape, optimism and creating something beautiful out of a bad situation. “Born to Run” primarily uses motorcycles, but the sentiment is the same – a machine, be it car or bike, is the key to unlimited freedom. More than that, even, is this: he’s saying to someone, “We can make it out if we just stick together.”

“Born to Run” evokes images from a time passed. This was 1975, and dudes driving their custom cars down to the burger joint where roller-skated waitresses would bring food on trays was an antiquated notion even then. But it sparks nostalgia in the listener’s ears, even if it’s just nostalgia for stuff we’ve seen in movies like it is for my generation. And that’s part of what makes Bruce so great. Nostalgia is myopic; when it’s really working, you believe that the past was better than the present, and Bruce makes it work better than anyone else.

Clarence Clemons, 1942 - 2011

Clarence Clemons, 1942 – 2011

The E Street Band had started gelling with the release of Bruce Springsteen’s first album, Greetings From Asbury Park, but Born to Run was the first album where they were actually named that. It features many interesting people, not the least of which are Patti Scialfa and Steven Van Zandt. They are a near-perfect example of a personality-based band, with Bruce being the brightest star of the bunch. However, always at Bruce’s side was a presence that loomed very large, both figuratively and literally, tenor saxophonist Clarence Clemons.

When it comes to brass instruments, I’m pretty wary about them being used in rock music. Oftentimes they end up bringing chintz and lowering the level of seriousness. Just look at the ska renaissance of the late ‘90s. No one took bands like Reel Big Fish or Save Ferris even close to seriously, which is why the fad died out after just a few years. The disposable nature of those bands is due to the song-and-dance, isn’t-this-funny nature of the music they played, and I’m glad it’s gone now (except Five Iron Frenzy – those guys rocked).

But Clarence Clemons was different. His sax didn’t lend jokiness or cheese to the music or make you believe it less. Quite the opposite, actually – you believed in it more. When he comes in with his solo on “She’s the One,” the force and fervency the whole band puts forth bowls me over every time, and Clarence is leading the charge. Somehow, the overwhelming power the E Street Band has down to a science is amplified and glorified by Clarence’s sax.

Clarence was nicknamed “The Big Man,” and one glance at him makes it easy to see why. He’s even referred to by that name in the lyrics to “Tenth Avenue Freeze-Out.” Somehow, tenor saxophonists just seem to be better the more thick-bodied they are. A lot of air needs to go through that brass, and the more you can hold the better.

One could say the E Street Band was like a well-oiled machine, but that simile would ring false. It was a tight band, no doubt, and the music they made had (and still has) a cohesion and energy like no other band. But it was more like a family. Each member knew its place and worked its hardest in the context of the band itself, but also felt free to work elsewhere and do his/her own thing. And at the end of the day, there was no doubt where he/she belonged.

Bruce was the leader, providing direction and a source of energy. Clarence, however, was Bruce’s perfect foil. Visually, they were almost opposite. Bruce was white, scrawny, wiry, talkative, energetic, and prone to give into his passions. Clarence was big, black, impassive, quiet, calm, and on a very even keel. Bruce was the first thing you’d notice about the E Street Band, but Clarence was always there, and could always be counted on to be there.

Clarence left this life after a stroke in 2011, at the age of 69. When he died, the music world lost something it simply can’t get back. So did the E Street Band. To their credit, they didn’t even try. And amazingly, the band’s power, passion and let’s-give-it-all-we’ve-got attitude weren’t diminished at all by Clarence’s absence. Wrecking Ball, Bruce’s first album since Clarence’s death, was one of the brightest spots of the music world in 2012, and here’s why: they were doing it to honor Clarence’s memory. In the liner notes for Wrecking Ball, Bruce writes: “Clarence Clemons doesn’t leave the E Street Band when he dies – he leaves it when we die.”

Born to Run

Bruce Springsteen – Born to Run – 8/25/1975

I’m not much of a patriot. I’m glad I live in America and I wouldn’t want to live anywhere else, and I also believe in our system of government (although that’s pretty hard right now…), but I don’t go in for supporting irrational things just because that the way we do thing in ‘Murica. I also recognize that life in America is no more legitimate than life in another country. It may be easier or more privileged, but a tribesman in Uganda or a monk on Nepal probably doesn’t enjoy his life less because he’s not living it in the United States.

But I still have some artifacts of the American experience, and I like having them. Barbeques, the 4th of July, the flag, baseball, church on Sunday mornings – they’re not particularly patriotic things, but they’re common to a lot of Americans’ lives. If nothing else, they lend a sense of national identity, which is a good thing. And for me, nothing captures what it means to be an American better than the music of Bruce Springsteen. Say what you want, but America is Bruce’s town.

Bruce and his music was just one of those constants in my life, and it was from a very early age. Bruce represents a kind of American paragon. He pulled himself up by his bootstraps, struggled doggedly for success and paid his dues, and has a humble attitude about stardom. He’s comfortable in the spotlight, but doesn’t trash hotel rooms or do copious lines of coke like more decadent rock stars. And more than that, his lyrics typically deal with real and common concerns like getting a job, urban decay, feeding your family, and poverty – and he gives you a sense of hope about those things, not a spirit of despair.

The song “Thunder Road,” which opens his 1975 breakthrough album Born to Run, contains the spirit of “we can make it if we run” Americanism in a glorious Platonic form. It’s simply the narrative of an ordinary guy trying to convince an ordinary girl to leave it all behind, hop in his car and believe in the “magic in the night.” Its gorgeous piano riff and blazing saxophone endgame, as well as Bruce’s particular gift for soaring vocal histrionics, make you believe that anything is possible if you just have faith, gas in the tank, and two lanes of blacktop.

Like so many American musicians, he was first inspired to pick up a guitar when he saw Elvis Presley on T.V. when he was 7. He had the thirst for success and inflated optimism about his future that befits a red-blooded American. When Marion Vineyard agreed to sponsor his musical career to get it off the ground, he promised her would make it big, and she believed him.

He played in many venues all up and down the north Atlantic coast, including the famous Café Wha? in Greenwich Village, before he was 18. Early on, he played in a three-piece called Earth. Though the timing is right, this was most likely not the Earth that Ozzy and Tony’s band heard about, deciding to change their name to Black Sabbath. A somewhat less patriotic but fully human story is of when he was 18 and called for induction to fight in the Vietnam War. He decided before he got on the bus, as he says, “I ain’t goin’.” He didn’t exactly draft-dodge, since he DID actually show up, but he torpedoed his chances by acting crazy and failing his physical – he got a 4F, which basically means the army wouldn’t take you if you had an American flag tattooed on your crotch.

Anyway, his blend of country town optimism and hard-as-steel stubbornness paid off, because by 1975 he had a great band behind him (the indomitable E Street Band), two solid records, and a growing reputation. But he was cooking something up, getting ready for a blast of all-or-nothing rock and roll in Born to Run. He was no longer satisfied with simply entertaining people; he wanted to change people’s lives.

Next: The Big Man.

American Stones

In the ‘60s, rock and roll that was completely American was… kinda lame. After the Day the Music Died and the Chuck Berry/Jerry Lee Lewis pedophilia scandals (thanks, you two for RUINING everything…) America dropped the rock and roll ball. Luckily, the U.K. was ready to swoop in after not too long with the Beatles, the Rolling Stones and the Who. Those bands were all so huge that America spent the next 5 years making carbon copies of British originals. The Beach Boys and other surf rock bands were the only originality the States had to offer. That should tell you something…

the corner of Haight & Ashbury

the corner of Haight & Ashbury

Then came the explosion of the Haight-Ashbury culture, which saw bands like the Grateful Dead and Jefferson Airplane coming to the front, and the dark drug culture of the Doors, opposite of the happy pot-smokers in San Francisco. Creedence Clearwater Revival offered a little southern-fried jangle and drawl, but they were too short-lived. And then there was Jimi Hendrix, an American trying to convince all of Europe he was one of them. His backup band was British, and he behaved like a Brit, so who was to say (other than his parents) that he was really American?

It’s ironic but true – rock and roll may have been started by black American blues musicians, but by the ‘60s, it was the domain of British white guys.

In the early ‘70s, things started to heat back up in America, but only slightly. The first few years saw a glut of bands like Kansas, Foreigner, Journey and Styx. But little did the world know that they would soon see the unleashing of a Boston juggernaut: Aerosmith.



When Aerosmith slithered on the scene, their eponymous first album was released at the same time and on the same label as another savior of American rock and roll, Bruce Springsteen. Because of that, they didn’t get their proper acknowledgement until a few years later. It also meant they had time to actually earn it. By their third album, Toys In the Attic, they were not only the tightest band making music, but they were ready to be hoisted up as America’s answer to all those great British groups.

It wasn’t an accident that Aerosmith reminded the public of the Rolling Stones. Steven Tyler had a swagger, style and physical profile very similar to those of Mick Jagger, just like Joe Perry was akin to Keith Richards in both appearance and guitar style. Steven and Joe even had a similar dynamic to Mick and Keith; one was the flamboyant and crowd-pleasing frontman, while the other was quieter and more unobtrusive, providing mystique.

I’m not saying there was anything insidious or contrived going on here. Record execs didn’t generate the idea of emulating the Stones in the hope of making more money. Rather, this was a simple matter of Steven and Joe admiring the Stones so damn much. Aerosmith probably made a conscious decision to look like Mick and Keith (long dark hair, skinny, colorful dress), but the similar stage relationship between the two had to be instinctual. To Aerosmith, the Rolling Stones were just “how it was done.” Why wouldn’t they be similar?

Next: the Big Three of rock stardom – can you guess what they are?


Led Zeppelin III

With I and II, Led Zeppelin were taking a well-established formula (the blues) and transforming it into something new. Songs like “Babe I’m Gonna Leave You” and “The Lemon Song” have roots in American blues, but they’re nigh unrecognizable after Led Zep got a hold of them. With III, they started taking a different formula and morphing it, though it’s not as well-established; that formula is Led Zeppelin itself.

It might be the reason III wasn’t well-received when it first came out. They had carved out a niche for themselves with the first 2 albums, but they shifted directions a little too swiftly; there’s less than two years between I and III. Maybe that blues-update thing had gotten boring for them. It must have still held some appeal since there are awesome songs like “Since I’ve Been Loving You” and “Hey Hey What Can I Do.” But change was happening, marked by the presence of “Tangerine” and “Gallows Pole” which had a folk and country vibe to them. Led Zeppelin was playing around with the very definition of itself.

Even so, it’s weird to me. I’ve seen other bands do similar things, and much more radical than that. No one was expecting Smashing Pumpkins to follow the gigantic smash hit of Mellon Collie & the Infinite Sadness with the morose and techno-ish Adore. Bruce Springsteen suddenly changed gears for an album and turned into a mellow singer-songwriter with Nebraska. And I hear Muse is going from Queen impersonators to dubstep. So what’s the big deal?

Detractors of Led Zeppelin’s evolution might have been many for III, but they all changed their tunes when IV hit the streets. Every critic you turned to had nothing but praises for Led Zep after that. All they had to do was not put their name on an album.

I’m just being cynical, a rare thing for me. I think what truly made IV receive critical acclaim is that it was good, really good. In my opinion, there are only 2 albums better than this one. I’ll cover them when I get to them in history.

IV starts out on an intense note with “Black Dog,” a full-on metal stomper. Some of Led Zep’s stuff has deep meanings or esoteric references, but some of it is just “let’s-do-it-in-the-bath” material. The lyrics to “Black Dog” don’t have much behind them other that desperate sexual desire and king-sized libido. The music, however, is incredibly interesting/frustrating. John Paul Jones, who wrote the main riff, wanted something you couldn’t dance to. That’s pretty easy to do, but what’s not easy is not having it be craptastically awful. “Black Dog” has ringing success on both counts. It has an unresolved quality, which always keeps you a little off-balance. I still don’t know what the rhythm is supposed to be. Every time I listen to it I’m aware that I’ve almost got it figured out. I know, I know, something about horseshoes and hand grenades…

“Rock and Roll” continues the force and intensity that “Black Dog” hinted at, but ups it by a factor of 10. And as much as John Paul Jones didn’t want you to be able to groove to “Black Dog,” the groove on “Rock and Roll” is undeniable. Your great-grandmother will be banging her head in her grave, if you play it loud enough. The musical pattern is nothing more complicated or less effective than a simple blues: I-I-IV-I and then V-IV-I-I. Lather, rinse, repeat.

While I think “Rock and Roll” is one of the best songs ever recorded, it really points to the fact that the blues is one of the best musical forms ever created. But more than that, it’s a token of that incredible talent Led Zeppelin had, to take something already existing and reformulate it into a completely new thing. That new thing Led Zeppelin created is something rock bands have consistently been trying to copy since then, and they’ve had little success. Success is not the point, though; it’s pretty fun just trying.

After that, it slows down and takes a turn for the strange and uncharted. I’m not even sure of where to begin with “The Battle of Evermore.” The first adjective that pops to mind is “Beowulfish,” which isn’t even a real word. It calls to mind a land so wild and ancient it doesn’t even seem like Earth.

Besides the Saxon/Celtic vibe, there are several notable firsts documented on “Battle.” It marks the first time Led Zep have had a guest vocalist. This honor belongs to Sandy Denny, singer for the folk outfit Fairport Convention. She got her own symbol on the album, much like the symbols for the other four. It also features Jimmy Page’s first time ever picking up a mandolin. He simply got curious about the mandolin John Paul Jones owned, started messing around with it, and recorded the instrumental track for “Battle” that day. Robert Plant then added his own contributions with the lyrics, which he recorded in two takes.

The lyrics are said to contain at least 4 references to Lord of the Rings by J.R.R. Tolkien, including “Dark Lord” and “Ringwraiths.” It also speaks of Avalon, the Queen of Light (possibly Galadriel) and the Prince of Peace (possibly Aragorn, but more likely Jesus Christ).

Next up: the second side of IV and the descent of Led Zeppelin.