I read a line this morning that said “Springsteen sounds like an episode of Home Improvement if it was a song” and it’s thrown me off somewhat… I came here to work on a couple of the Bruce posts that are in the works and now all I can hear is Tim Allen going “uuuuuuuuAH?”
I will persevere though and talk about The Boss, specifically about his first new album in seven years, Western Stars.
I’ll be honest – at first I was nervous, apprehensive. Springsteen had been talking about his new ‘solo’ album* before he began his Broadway residency and the idea of an album that had been long-laboured over as with Human Touch made me wonder if it was ever going to see the light of day. Throw in producer Ron Aniello** and lack of E Street band…
I was wrong. Very fucking wrong. Western Stars is Springsteen’s strongest in a long time. Where it sits in terms of my Least to Most is still tbc but the songs on here are far and away some of his best story tunes to date.
Now a lot was said in the run up to the album’s launch, and still is being said, about the sound. How this album is supposed to be influenced by the southern-California pop sound of the 70’s championed by Burt Bacharach or Glenn Campbell…. I don’t know a lot about that because, well; frankly it’s not something I’m all that familiar with. It is a different sound to what you might expect from Springsteen – there’s no snarling guitar or stomp on here. But… at the same time….. it’s not. Some of Springsteen’s later career highlights such as ‘Paradise’, ‘The Last Carnival’ or ‘The Devil’s Arcade’ found Bruce moving into more contemplative tunes with strings vs screaming guitars and the sounds on Working on a Dream had already hinted at a taste for the lush.
It was only a matter of time before he ditched the rock and tried the orchestra and there’s also a progression in his ‘solo’ album sounds, from Nebraska to Ghost of Tom Joad to Devils and Dust there were increasing embellishments on the sound from the initial ‘one man, a guitar and a four-track’ approach. Here we have the ‘solo’ album that is, in fact, one man, a producer, multiple guest musicians, former band members and several orchestras…
Yet it takes a little getting used to, this approach. Exactly one and two-thirds of a song, in fact. Opener ‘Hitch Hikin’ isn’t a success. From a lyrical point of view we’re good, it’s standard Bruce travelling-tune fare complete with reference to a ‘souped-up ’72’. Yet for a song with little weight to it, the production is way over the top – I’m looking at you Aniello – with strings and slobbered over it as though building to some cinematic climax that simply isn’t there. It’s jarring.
‘Wayfarer’ suffers a similar fate, at first. Lyrically we’re fine – love the line “Some folks are inspired sitting by the fire, slippers tucked under the bed, but when I go to sleep I can’t count sheep for the white lines in my head” – but the orchestral accompaniment here sounds as fake and appropriate as the tits on ‘Baywatch’. It doesn’t work. Until 02:30 that is. Bruce pushes his voice a little too hard and, instead of collapsing, everything comes together behind him – horns, strings and melody complete and, suddenly, it’s working together in a, yes, Burt Bacharach soundtrack style.
From here on in it gets good. Really good. Where this album works so very well is when the strings and music is minimal – used more as a graceful backdrop to what are some of Springsteen’s finest character and story songs with gentle sweeps of string and lap steel to move between verses and time as on the title track:
The tex-mex flavour of ‘Sleepy Joe’s Cafe’ lifts the pace a little while there’s a cadence to Bruce’s lyrical delivery that almost brings to mind the upbeat numbers on The River. Lead ‘singles’*** ‘Tuscon Train’ and ‘Hello Sunshine’ differ the least from Springsteen’s songwriting and sound – hell, one of them is a bloody ‘train’ song complete with steam train sounds at the end – but are nonetheless strong tunes.
The real highlights for me, though are songs like ‘Drive Fast (the Stuntman)’ – a deceptively simple gentle guitar strum and piano accompany the first lines before the orchestra joins gently to rise and fall with the story in gorgeous surges and rolling out like the soundtrack to a gritty short film****. When the instrumental passages and orchestral accompaniment blend with – rather than being the focus – Springsteen’s lyrics and initial melody as they does with so many songs on here, Western Stars is a triumph.
Western Stars has met with near unanimous acclaim including critics that usually scoff at Springsteen and with good reason. It manages to be both a move in a different direction and familiar at the same time. The sheer strength of Springsteen’s songwriting on this album means that his songs are both immediate and reveal more on each listen as the sounds unfold beneath them – sounds which, while initially unexpected, suddenly make sense and you end up wondering why he hadn’t tried this earlier.
Whether we get to hear any of these live is another question – there’s no tour for Western Stars – after performing twelve million shows on Broadway the man’s entitled to a break I guess. Plus there’s now talk of a new E Street Band album being written and worked on at the end of the year. Then there’s the Tracks 2 and second Seeger Sessions album and….
*only live releases have been credited to anything other than ‘Bruce Springsteen’
**case in point: High Hopes and Wrecking Ball are among Springsteen’s low points in terms of production and sound IMHO
***does anybody really do singles anymore?
****one of which is apparently due in autumn.
8 thoughts on “I wake up in the morning, just glad my boots are on: Bruce Springsteen – Western Stars”
I have to take another closer look at this album. When I listened to it a couple of times when it came out, I was kind of indifferent – didn’t think it was bad, but also wasn’t exactly wowed.
While I would definitely call myself a Springsteen fan, I think the truth is I’m particularly down to his earlier work with the E Street Band. It’s albums like “Born To Run”, “The River”, “Born In The U.S.A” (my initial introduction to Bruce) and “Darkness On The Edge Of Town” I dig in particular.
You’ve summed this rare gem up beautifully. Could not agree more with your thoughts.
I haven’t followed Bruce’s releases on any kind of a regular basis for quite some time. I mean he’s good but he’s no Taylor Swift! What I’ve heard from this album thus far so I’ll give it a spin.
There can only be one Taylor Swift
No there’s a million of them with different names.
Tony, Bruce is such a creative guy with so many musical ideas in him. I’ve give the album 3 listens now. These are really good songs and they just keep sounding better. His albums always grow stronger with me and this will be no different. “Story tunes”. I like that and I do love story tunes. I don’t get that Cali reference at all. People like to throw labels on things. Bruce just continues to make the music he wants and if he’s liking it chances are we will too.
I’m of the opinion this is his best since Devils and Dust. The songwriting is strong and that hushed lush vibe suits him more than what he’s been pushing over the last (nearly) 15 years. I think. It doesn’t feel that he’s trying to be Springsteen, if that makes sense. Sleepy Joe’s Cafe, though… that pulls me out of the whole thing when I’ve gotten settled. I just don’t like it.
I hear what you mean, Wrecking Ball and High Hopes he was trying too hard to be both typical Springsteen and relevant – if you have to force it, it ain’t there. This one seems to have been allowed to breath and take a shape of its own naturally and it’s all the better for it. Best since Magic Id say at the moment