Off the Tracks is a good site with a million more hits than mine, and it's author has kindly linked Radio Nowhere on his facebook page and on his blog, so please help me return the favour by clicking the link above. Also, check out his book, On Song.
And in case you're wondering what it is about, it's about this...
Tragedy - Hanoi Rocks
Rebirth of Slick (Cool Like Dat) - Digable Planets
Nebraska/Atlantic
City/Mansion on the Hill/Johnny 99/Highway Patrolman/
State
Trooper/Used Cars/Open All Night/My Father's House/Reason to Believe
Everything dies baby
that's a fact,
But maybe everything
that dies, someday comes back.
Put your makeup on, fix
your hair up pretty,
And meet me tonight in
Atlantic City.
Once upon a time I knew
(via a music discussion forum) a guy called Will. Biggest music geek
I've ever crossed paths with. Think Rob from High-Fidelity.
Punk, metal, indie, goth, you name it, he probably had the Japanese
import on coloured vinyl. He made me feel positively normal in my
obsession. More importantly, when I moved to a new town and knew nobody who was
going to gigs and checking out new bands, it was people like Will and
websites like those we frequented that gave me an outlet to discuss
my love of music and the big issues like whether the third Skid Row
album was really any good or not. Knowing people like him is part of why I'm writing a blog like this.
Only thing is, he
didn't really like Bruce Springsteen, at least, not really.
A failing in my mind, but it takes all kinds I guess. Will's
reasoning was that he couldn't connect with Springsteen's story-telling
approach to songwriting. It didn't ring true to him and he much
preferred artists who took a more 'personal' approach to their craft.
Fair enough (I guess), except that he loved Nebraska.
That's right. Nebraska. An album rich with characters like Johnny 99 and the chicken-man.
An album of acoustic demos that is as close to a collection of short-stories as it is a
collection of songs. On the face of it, that's a fairly contradictory
position to hold for a guy who put a fair amount of thought into the
music he liked.
Atlantic City
(one of the best songs ever, by anyone)
However, I've always
felt that that the apparent contradictions in people's tastes can
teach us a lot about both them and the artists in we spend our time
contemplating. And since this isn't a blog about people I've met
through the internet, let's think about Nebraska and its place in the Springsteen catalogue...
It's not surprising
that someone who is otherwise not a huge Springsteen fan might still
love Nebraska. Musically, its sparse acoustic approach – no
keyboards, no drums, no electric guitar - is the antithesis of the
E-Street Band wall of sound which dominated Springsteen's prior
albums.
Only Atlantic City and Johnny 99 have any sort of
propulsion to them. The rest are folkier tunes - haunting, lyrically
dense and emotionally intense. It contains some
fantastic songs, but to claim, as some do, that it is Springsteen's
best? I'm unconvinced. Listening to Springsteen to enjoy slow, dark,
maudlin songs is a little like reading Playboy for the
articles. Sure, they're actually pretty good, but if they were really what I wanted
I'd have just bought an issue of Time Magazine (or perhaps a Leonard
Cohen album).
Sheriff when the man
pulls that switch sir, And snaps my poor neck
back. You make sure my pretty
baby, Is sittin right there
on my lap.
Having said that, I can
understand why Will might have been able to enjoy the story-telling
on Nebraska more than he enjoyed the not entirely dissimilar tales
that populate Springsteen's E-Street Band albums. The dark,
claustrophobic feel of the sparse arrangements and Springsteen's
restrained vocal approach complement the lyrics superbly, making the
fictions presented all the more believable, the stories seemingly
more personal as the gap between singer and listener is lessened by
the intimacy of the recordings. Would the chorus to Atlantic City
be as heartbreaking with Little Steven's wailing guitar and a
Clarence Clemons sax solo? Would a rolling drum-fill make us think any more deeply about the plight of the titular character in Johnny 99? Probably not.
Johnny 99
(also look up the great versions by Johnny Cash and Los Lobos)
As effective as it may
be though, the acoustic approach taken on Nebraska means that
a number of the characteristics that, to my mind, make Springsteen
great in the first place are missing. In a world of po-faced
wannaDylans, Springsteen was always the singer-songwriter who wasn't
afraid to rock out. Or the rocker that wasn't afraid to densely pack
his lyrics. An acoustic album shifts him firmly into the already crowded singer-songwriter camp. As a result, Nebraska is an album a number of other artists might have made (albeit probably
not as well). Born To Run and Darkness on the Edge of Town, on the other hand, are albums no other artist could have made.
An extension of this is the fact that in presenting such serious
songs in such a serious fashion, Springsteen is unable to utilise one
of his greatest tricks. You see, it's not like much of his catalogue
isn't fairly bleak, but Springsteen has an unequalled ability to
present dark lyrical themes in poppy or anthemic contexts
as if it is the most logical thing in the world. It's no wonder
people so regularly misinterpret Born in the USA when they hear
that fist-pumping chorus. And Hungry
Heart? That's got to
be the jauntiest song ever written about a man walking out on his
family. This is one of Springsteen's greatest gifts as a songwriter
and arranger. Another of those things that separates him from the
pack, and another thing you won't find on Nebraska.
Radio's jammed up with
gospel stations, Lost souls callin' long
distance salvation. Hey Mr DJ woncha hear
my last prayer, Hey ho rock 'n roll
deliver me from nowhere.
Ultimately, bar a couple of the strongest tunes, when I hear Nebraska I still feel like a lot of fans must have at the time:
This is nice and all, but it's not really the full package. I'm glad
it was released in its stripped back acoustic form. As an exception
to the rule, it strengthens the Springsteen catalogue. You can play
it at times where three guitars, two keyboards and a saxophone don't
suit your mood. As a one-off therefore, it's a very worthwhile album. But it feels like a side-project.
In my experience, people who rank Nebraska as Springsteen's best are
often people who were never as taken by his other work. In thinking
about it, I understand where they are coming from, and where Will was
coming from. The things that light my fire when it comes to
Springsteen obviously didn't appeal to him in the same way, and an
opportunity to hear the songwriter devoid of his rock band trappings
opened him up to an artist he was otherwise not so enamored with.
It's an interesting example of how one atypical album in a
catalogue can serve to illuminate the artist's catalogue as a whole. And, despite my misgivings, it
really is a great album. In fact to present my own contradictory opinion, it is better than its follow-up Born in the USA, the full band mega-hit packed with all the things I've just told you define Springsteen.
I guess what I'm really
trying to say with all of this is, we miss you Will.
Reason to Believe
-Aimee Mann & Michael Penn
Atlantic City
-The Hold Steady
(one of my favorite of the current crop of obviously Springsteen inspired acts, with a cover that reworks the original quite significantly, as covers of such bare-bones songs often do)
Wasn't intending micro-posts like this, but given the man donated me a blog title... Here's the new Springsteen tune We Take Care of Our Own.
What do you reckon? I like it on first listen. More interesting than most of the Working On A Dream material. That felt very by-the-numbers... This seems to promise an interesting album.
