Discussion in 'Music Corner' started by Dr. Zoom, Apr 29, 2018.
Hello Sunshine is the best track.
Just got done with my first listen. I had one word: gorgeous. And I am not really a fan of his solo work. This isn't a sing-a-long album, but a nice relaxing album.
The first half is stronger than the second. The Nashville song was a bit weak compared to the rest. Stones was definitely the clunker. It sounded like it shared the music to Queen of the Supermarket. But a nice rebound with Hello Sunshine and the closing song.
I am pleased. Looking forward to what he does with the ESB.
First song played on the Born in the USA tour.
Can't think of better choice
Western Stars is a fantastic album. Gives me great hope for the next one!
“Stones” is a great song. You should listen to it a couple more times.
Stones is my favorite. He sings it just like he sang on Darkness. It reminds me of Breakaway, which was my favorite on The Promise.
I should. I have only listened to the album twice so far. Not because I didn't like it, but I have been on a family vacation. Haven't had time to sit and listen for an hour.
That's a very good point. "Breakaway" and "The Brokenhearted" from The Promise do share some similarities with some of the stuff on Western Stars--especially "Stones" and "Drive Fast ( The Stuntman)." The first echoes "Darkness on The Edge of Town" and the second recalls "Racing in the Streets."
The only thing that complicates this theory is that The Promise featured The E Street Band and Western Stars does not.
outside of TT and HS this album has 0 tunes. Lyrically all songs are one.
Tried to give it a second listen but it was possible.
I have an idea--DON'T try and sit and listen to the album all the way through, starting with the first track. Pick a track and focus on that one. Try "Stones" or especially "Drive Fast ( The Stuntman)." Both have that Darkness on the Edge of Town vibe going on. You may not hear it at first; it's subtle.
But trust me, it's there.
Then focus on another individual track. You already have the album, I presume--or have heard it on Spotify or You Tube--so what's the harm in giving it another go?
It won't cost you anything.
That's an odd take for sure. But it takes all kinds to make a world! What new music do you like?
I tried but couldnt do it. the hitchiker....the wayfarer and the stuntman... and the thing is off.
its like a 45 min spoken word piece with strings in the background.
Stones completely fits the self-reflective nature found on, and the hallmark of, Tunnel of Love. I think it is a fantastic track, maybe the best on the album.
I don't know exactly when this was recorded, but it sounds like the more recent, older Bruce is singing with his younger self towards the end of the song. He did the same thing on "The Brokenhearted", from The Promise.
That could be. I'll take your word on it and give it a fresh listen. Truth is, I'm not too familiar with much after 1999, giving not much more than a first listen or three to what he was putting out.
Here my comment was more about the lyrical content, rather than when he wrote this stuff or recorded it. I also think Moonlight Motel, "vocally", sounds an awful lot like something from TOL. I've not tied either of these new releases in with Darkness On The Edge Of Town, like others have.
But, hey, I'm not listening to the new album to conjure up any memories or to make comparisons -- I think it stands on its own two-feet really well.
Moonlight Motel could be an outtake from ToL with the way Bruce's voice sounds. One astute member here (sorry I don't recall who) said the song could be a sequel to the couple on Valentine's Day which is reasonable. I love his voice on the song as much as the song itself.
It is instructive to notice how Bruce references his earlier work— intentionallly I think— but subtly so that you don’t notice it.
Until you do.
That’s why I think many listeners notice different things that recall diverse albums. I don’t hear Nebraska, but others do. But I can’t get the Darkness references out of my head since I picked them up.
It's all "one song", eh?
Well, it’s one “story “ when u think about it.
And indeed, Livingston Taylor's debut LP ("Livingston Taylor") is one of the finest singer-songwriter albums (not to mention debuts) out there. Much of this owes to Liv's great material and performance, but the album is a gem. For years I felt that its second side was the second greatest LP side to date - second only to side 2 of Bruce's (pre-Landau) The Wild, The Innocent & the E Street Shuffle.
That said, I believe that Landau's growing involvement in Bruce's career led him away from his best work. From '75-'78, Bruce was at a peak creatively, and especially as a performer, that neither he nor anyone else has since equaled. In retrospect, Mike Appel had a lot to do with this. And I sincerely wish that both Bruce and Appel then possessed the maturity to resolve their differences in a manner that didn't deprive fans during his peak years, nor send his career ricocheting off in a less satisfying direction. Bruce should have followed 75's BTR with the Bottom Line live LP Appel recommended during '76, then another great NJ shore LP in '77 (Frankie, Rendezvous, Don't Look Back, Loose Ends, Hearts of Stone, Talk to Me, etc.) before hitting Darkness in '78. He'd had achieved much greater success much sooner.
I agree with you to the extent that Appel is under-appreciated. He encouraged and cajoled Bruce into writing more songs.
He put Bruce on the map. He somehow wrangled an audition with John Hammond and CBS. He strong armed Time and Newsweek into giving Bruce the cover of their then-influential news magazines.
Unfortunately, the same old- school tactics in Appel’s arsenal included signing Bruce to a dishonest, miserly and one -sided publishing and managerial deal, a deal that was bound to lead to trouble if Bruce got successful.
Once Landau opportunistically wormed his way into Bruce’s inner circle, that’s exactly what happened.
However, Landau was the right man at the right time -just as Appel had been a few years earlier - and I’ve always felt that after the massive success of Born in the USA—due in great measure to Landau, Bruce needed someone else to look after his affairs—and be a sounding board for his ideas.
But it wasn’t to be.
BitU was a massive commercial success, but to me, a huge step backward for Bruce's art. Generic stadium rock (lots of folks could have written stuff like Darlington, Working, I'm on Fire, Cover Me, etc. - how many others could write Thunder Road, Jungleland, Blinded, Rosalita?), dancing bears on stage, and the idiotic notion that the greatest rock performer of his era should instead s lip-synch to his studio recordings for videos. Yes, that was likely Landau's work. Appel wasn't the first person to ink a lousy contract with an artist (he had little background in the field), and should have found a better resolution with Bruce that steered away from the pissing contest that cost us all much of 3 amazing years during the most fertile part of his career.
I agree with you but with the one caveat that it was the ‘80’s and in the wake of MTV, massive chart success was available to all who played the game. Even David Bowie had mega success with one of his lesser works.
Also, consider that Nebraska was the album Bruce gave to his ‘art’ and BitUSA was planned and intended to be the monster it became.
“Dancing in the Dark” was a cheese fest, but it needed to be in order for Bruce to reach the next level.
diminishing returns after BTR, for sure. too much myth not enough meat.
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