Big favorite. In the top three with BTR and Darkness. Lovely sound and the production has stood the test of time. Wild Billy is definitely the weak link. I would replace it with the Fever or something more upbeat. B-side is almost perfect. I was a huge fan of NYC Serenade but it has lost some of its magic in the last decade for me. Trivia: There was a swedish radio DJ who played the complete b-side many times on national state radio back in the LP days
As with Greetings From Asbury Park N.J., I didn't hear The Wild, The Innocent And The E Street Shuffle until probably the mid-1980s. It also didn't sell much at all upon its initial release (although it did garner Springsteen a following in Philadelphia) and didn't achieve real commercial success until after the BIUSA boom over a decade later. However, this is where most of the comparisons to Bruce's debut end. WIESS is a quantum leap forward creatively. In many ways, it's the odd (or wild) child in Springsteen's catalog. I would argue that it is probably the least representative of all of his albums, or the least-Springsteenian. It shows little folk influence and sees him appropriating a sound that he didn't seem to have the greatest affinity for - the Jersey Shore bar band mix of white soul/R&B and rock. As such, it's a bit of a case of Bruce wearing another man's clothes here, but the songs are so great and the band so perfectly suited to play this type of music that it ends up hardly mattering that the album doesn't really play to Springsteen's strengths. At the time, he probably didn't realize where his strengths were - he just wanted to make some sort of an impact. Comments on individual songs: The E Street Shuffle - I didn't like this track for the longest time, but it has grown on me over the past 20 years or so. It's a nothing song lyrically, but the band carries it. The horns on the last part are inspired. Bruce's vocal is poor (a problem that creeps in periodically through this album; he sings it with that annoying marbles-in-his-mouth slurring that he would thankfully retire after this early period of his career), but this is as funky as the E Street Band ever got. I hear a bit of Little Feat here. 4th of July, Asbury Park (Sandy) - This is the artistic high-point of the album, at least lyrically. A perfectly realized slice-of-life tale that fits its title on the nose. This is Springsteen surveying the late teenage/early 20s summertime Jersey Shore scene of the early 1970s and declaring "this boardwalk life is through". He had bigger ambitions and needed to find a way out of a dead end circumstance. Yes, the lyrical imagery is a bit overwrought and his vocal is perhaps too dramatic, but it all goes to serve the drama of the storyline and the music is suitably cinematic. The work of the band here is marvelously empathetic. This is a defining moment in a young life - it's decision time. Stay or go? Thankfully for Springsteen fans, he went. Kitty's Back - This is my personal favorite cut on the LP, although the lack of a lyric sheet (I think the only Springsteen album without one) made it impossible for me to figure out just what the hell he was singing in the opening lines. It was almost like Bruce-scat, which worked in the context of the music (and, let's face it, the lyrics on this track aren't among his most meaningful anyway) but was a far cry from the folkies' emphasis on clearly annunciated words. The instrumental section in the middle is where this track really cooks - the horns, the drums, the guitar, and especially David Sancious' organ. This is one of the absolute musical highlights of Springsteen's career. Wild Billy's Circus Story - This is the one song that could have appeared on his first album, as it has a bit of that folk feel, albeit warped by the presence of the tuba and Bruce's own warbly lead vocal. This is pretty clearly the weakest cut on the LP, and though it does have its charms, the story it tells doesn't really go anywhere significant. It's a small scene and is filled with detail, a hallmark of Bruce's better future lyric writing, but is probably too verbose to leave lingering images in the mind of the listener. It also lies: Nebraska wasn't the next stop. There'd be three other stops to come first. Incident on 57th Street - Thus begins the Side 2 "trilogy" of loosely linked urban nighttime scenarios. I don't think there is any direct relationship between these songs in terms of the characters in them, but there is no denying that they all work together to produce an epic, widescreen portrait that is even greater than their individual charms (which are considerable). The title, as with "Sandy", is appropriately cinematic - just setting the scene for the action within. The lyrics set the scene, which is marvelously descriptive. We don't really know quite what the "incident" is, but the people in the song come alive. This song describes a lost New York City, for sure. The melody is beautiful and elegiac, and the band executes its dynamics exceptionally well. The lyrics leave the storyline unresolved, which I find effective. Bruce's lead vocal here is largely shorn of the idiosyncrasies that I've mentioned; it's powerful and compelling without resorting to gimmickry. I think "Incident" falls short of being a masterpiece - the storyline, in the end, doesn't tell us all that much and it's hard to really care about any of these characters, in contrast to the more fully sketched out characters he would write about on future albums - but it was a big indicator of Springsteen's facility with words and ability to effectively conjure up a vivid scene such as this in his music. Rosalita (Come Out Tonight) - Apparently one of the last additions to the LP (bumping "Thundercrack", an outstanding but inferior song), "Rosalita" is perhaps Springsteen's best love song -- or at least "young love" song ("Valentine's Day" and "Human Touch" will mean a lot more to any mature listener). It's a simple story, but filled with memorable lines and images, as well as some self-referencing with the "record company" bit. This was his most effective rocker to date, with all of the key changes and little instrumental sections that appear and disappear (my favorite being the one just before the "I know your mamma she don't like me" part), and was designed to be a show-stopper on stage, which it would be for about a decade. I'd say this is the other masterpiece on the LP , but it doesn't have quite the same sadness to it as "Sandy". New York City Serenade - The amazing piano intro courtesy of Sancious is unlike anything else on a Springsteen song, and sets us up for something amazing. Yet...while the rest of the song is certainly very good, it's not amazing. This song was created when Bruce took two different songs ("New York Song" and "Vibes Man", both of which had already been recorded) and mashed them together. As a result, the lyrics really don't make any sense. There's no apparent narrative thread here, just a series of nighttime vignettes. Bruce tries to sell it all with his vocal, but it is unfortunately overwrought and exemplifies some of his worst vocal attributes at the time. Still, the music is sweeping and beautiful and the strings provide a cinematic denouement to the album. This is one of those songs, relatively rare in Springsteen's canon, where "feel" trumps "meaning". There were several strong outtakes from these sessions, most notably the above-mentioned "Thundercrack" (messy lyric but fantastic music) and "The Fever", a smoldering R&B ballad. Other lesser songs such as "Zero and Blind Terry", "Santa Ana", "Seaside Bar Song", "Phantoms", "Evacuation of the West", "Janey Needs A Shooter" and a few others were also considered, but I think Bruce made all of the correct decisions here. None of the outtakes that we have heard would have improved the album significantly, although many of them are fine and enjoyable listens in their own right. The Wild, The Innocent And The E Street Shuffle was again recorded at the same small, low-cost studio where his debut had been made, and, again, the sonics on the LP reflect that. The recording is muffled and doesn't have the spark and life that it might have with a better studio and better producer at the helm. The album cover is somewhat misleading, showing a pensive Springsteen's face and leading one to think that the album is the work of an introspective singer-songwriter. The band picture on the rear provides a more accurate indication of the album's contents. Summing up, Bruce's second album was a brilliant leap forward in almost every way. However, it remains somewhat of a curio in his catalog. To me, it's not the REAL Bruce Springsteen, but more an example of Springsteen playing a role. To be sure, he plays it to the hilt and does a fantastic job of it. He still had a way to go as a lyricist, and would need to develop a better ability to self-edit and simplify his style. His singing would need to improve and lose some of the affectations on display here. He never again worked with a band that could do quite what this one did here, even if some of them (Lopez on drums, for example) weren't the best players. Still, given that only about 9-10 months had passed since his debut, it was a remarkable feat of artistic progression and set clear expectations for his next album. For me, WIESS falls just shy of being a masterpiece and one of Springsteen's essential albums. I rate it just outside of Springsteen's essential top work (consisting of his next six consecutive studio LPs). In some ways, Bruce's first two albums were a reflection of the smallness of his world at the time - New York City, the Jersey Shore, and environs. With his third album, he would "light out for the territories" and begin writing about bigger things, and his music would lose some of its claustrophobic provincialism and would start evidencing a broader, more open canvas consisting of America as a whole. And would become a lot better for it.
That’s awful. Incident ends with that dangling chord which drops straight into Rosalita. They can’t be spilt like that.
Yup. Awful. 8 tracks were one hell of a mediocre technology. They were kind of like the Flip camera of the mid-70's.
Funky, crazy, jazzy, rockin’, rich, varied, poetic, operatic, Lopez all-over-the-place (it’s a compliment in case you’re wondering), and how about that Sancious. Is there a more perfect Side B in rock history? Well, other than the Darkness album I mean. Right out of the gate, fun fun fun with The E Street shuffle. Still a great live song decades later. Same thing with Rosie, the mother of all fun live songs. Fleeting youth in Sandy. Strong lyrics for me, but the music bores me at times. The Fever hold my attention better, but it taking Sandy’s place would ruin the flow of the record for me. Kitty’s back feels just right on the record, while at shows it goes on for too long. It’s exciting to wait for who’s coming out of the alley, but after a 5 minute wait, you forget what you were waiting for in the first place. Wild Billy’s Circus Story, the weakest link for me, and could easily be replaced by Santa Ana, but I’m not complaining. Incident on 57th street, arguably one of the finest songs he’s ever written. The live version from Nassau 80 released later as a B side, is pure magic. It amuses me when I hear fans refer to this as Jungleland’s little brother. Sometimes I even laugh out loud. New York City Serenade is like many songs rolled into one long wonderful love letter to NYC. It leaves me wanting more. The second record proves he made quite an artistic leap from Greetings. The Wild, The Innocent truly is a band record. ♥ you can leave me tonight but just don't leave me alone ♥
Wonderful review, but kept staring at the line "To me, it's not the REAL Bruce Springsteen, but more an example of Springsteen playing a role". I think Bruce is always playing a role, as much as Bowie or any other shape shifter, except his changes seem more authentic and subtle as opposed to others who might come off as campy or theatrical. Folkie, Street Rat, Angry Young Man, Working Man, Wise Elder- pick your Bruce and it doesn't matter, they are all different layers/roles that emanate from the same scared/angry yearning kid who grew up over that freezing grate and prayed that music could save him.
Love everything but Wild Billy's Circus Story. Such growth between Greetings to Wild isn't there? The Van Morrison vibe is still there but the presence of Jersey really busts thru. E Street Shuffle will make you shake your ass. Incident was a great first love song. Rosalita is still his best set closer and New York City Serenade is possibly the most beautiful song he's ever written. Kitty's Back live was a 17 minute jam that showed off the band as great musicians who played with soul and skill. No worse than a top 5 album in his catalog.
More than many artists, there is a clear and measurable growth trajectory between Bruce's first three albums. It's like gradual polishing of a diamond. Greetings was uncontrolled raw talent bursting forth. Wild & Innocent was that talent more disciplined and structured. Born To Run was that talent focused and refined. But I wouldn't discover him until Darkness when I was 16. I was never a fan of Greetings. I like more than half the tracks but it's nothing I feel motivated to play as an album. Innocent was a fave of mine when I finally purchased it in about 1979 or so. It's all pretty epic and, at the time, that really appealed to me. I think that these songs, as much as some of them are very exciting on record, all work better in a live setting. I have to disagree that this album was poorly produced. Its actually a pretty punchy recording, especially for 1974. It's not a polished recording, but it's a clear, punchy recording with a nice, un-futzed with band feel.
The production was very 1970s. Warm & soft, very little echo or reverb, good instrument separation. Again, I think it’s one of his best-sounding records. Sounds particularly good on headphones.
Listened to Greetings today. My opinion stands. There may be a few lesser tracks, but this is a great record. Would For You be improved by losing the “cloud line urges” line entirely? Also, this is a perfect lyric: We danced all night to a soul fairy band and she kissed me just right like only a lonely angel can.
“I spent month long vacations in the stratosphere, where you know it’s really hard to hold your breath” That’s pretty good too.
Wild, the Innocent and the E Street Shuffle is where I start with Springsteen. It is a wonderful musical journey, and Springsteen was really starting to get his lyrics razor sharp. Which isn't to say they were bad in the debut, but they just kept getting sharper. A great second album.
Yep, overnight he delivers a classic. Perhaps not the most dynamic production (however, it is better than anything Brenden O’Brien ever did with Springsteen and his massive budgets and first class facilities), but it captures the early 1970’s innocence of a young, poetic, romantic, hungry, leader of a Jersey bar-band with an affinity for the grandiose. His next project would unleash one of the finest albums ever released.
Interestingly I circled back to Greetings yesterday for some reason for the first time in a while. Thing with Bruce is that his “classic period” is so strong it kind of overshadows his first two albums, which are great in their own right. They both have great songs. Of course Born To Run was first big statement; the one where people started paying attention. Bruce wasn’t really a household name yet but caught the eye of critics and was becoming more and more established as a live act. Greetings is a strong debut with a lot of great songs. I love Growin Up, Mary Queen Of Arkansas, 82nd Street, Lost In The Flood and really like all the other tracks. There was definitely something Dylanesuqe about it, with more of a soul/r&b backing, the lyrics really stand out. E Street Shuffle is probably one of his most interesting albums as he hasn’t made anything else that sounds quite like it. There’s a big band element that’s very reminiscent of old school Jersey Shore sound (lots of horns, accordions, even tuba!) and his lyrics reflect youthful days. It’s the one album that’s almost more about the BAND than Bruce himself. At the same time, the music is polished, with less edge than Born To Run, less of the raw, live element. The songs are great. New York City Serenade is a masterpiece.
Agreed! I like the sound of my cd. Like a lot of the space it conveys and the placement of instruments. E Street Shuffle sounds great too.
Couple additional thoughts: If Springsteen has a record that's perfect for summer it's this one. Lots of references to Summer and the shore. You can almost feel the waves and smell the salt water at the shore. Can't help but think of the late Danny Federici every time I hear 4th of July Asbury Park now. The emotional first performance of it after Danny died is worth searching for on YouTube. This record also essentially marks the end of E Street Band version 1. Davy Sancious would make it to the recording of Born to Run but Mad Dog Lopez would not. Max was definitely an upgrade but Sancious? He and Bittan are both great (love Roy's playing with Bowie on Station to Station) and Roy is probably more versatile but Sancious was more unique in his playing. Both are great though. This album might be Springsteen's best as a vocalist. I'm a sucker for the vocals on Kitty's Back and the "here she comes" bit.
Sancious is much jazzier and R&B-ish than Roy. Roy is more of a rock & roll pianist, in the vein of Jerry Lee, Billy Joel, Elton John etc. When Danny died, I wondered whether Sancious would be brought back in the fold, as he and Bruce are still tight. But I can't really imagine Sancious doing organ & glockenspiel fills on stuff like Badlands and Promised Land. Not his style. Max was clearly a better long term fit, but as Bruce said, 'Vini had a fabulous style that graced my first 2 records beautifully'. Not sure they would have been as good with Max on them. I love the original E Street Band. They had a lightness, a swing, and when needed, a punch that could rival The Who.
This is my favourite Springsteen record to just play and chill out. Everything about it just works for me. The overall sound -- the vocals, and the jazzy, soulful, even occasionally funky sounds blend together perfectly. I liked this album out of the gate, and every track works well, even Wild Billy. I say again, change nothing. I cannily imagine how interesting the Asbury Park Boardwalk must have been back in the day. I totally agree. I think this album sounds wonderful. I hadn't played it or heard it for over a decade as I was overseas, but upon returning, wow! It has a terrific stereo presentation, very alive and yet warm, and I'm not sure I have a better Springsteen recording on any of his first eight albums. If you disagree, maybe get an early Canadian pressing because it sure works on my set-up. Perhaps you could share it, as I know I'd really appreciate a copy. One of my favourite tracks is the opening cut, The E Street Shuffle. From the jazzy opening horns, to the funky groove sliding along with a little horn accent, Springsteen's authentic vocals with the soul-sounding background "whoa-whoa-ahh" punctuated with some chatter just drives the song along, until the ultra-cool guitar work is eventually overtaken with some punchy horns. Nothing short of a great song. What can one say about side 2 that we don't already know? FANTASTIC! This is where Springsteen takes his characters and vibrant backdrop strings and runs with it until the end of Nebraska. This stretch of recordings (for 11 sides in total) is what I consider classic Springsteen.
A hush, I understand, we all know what's coming. Anyone want to start this life changer off on Friday? seems fitting, the weekend, the promise of escape I'm tempted to just stand back, and let it all be, but nah..... Doubt anything new can be said, but still, would love to see you all try
I've never really gotten fully into The Wild..., but the parts I do like are absolutely stellar. My family moved the summer I was 16 and halfway through high school, from a very working class town to an affluent suburb hundreds of miles away, and "Me, I just got tired of hangin' in them dusty arcades, bangin' them pleasure machines" was a big mantra of mine.
BORN TO RUN Released August 25, 1975 Recorded May 1975-July 1975 at the Record Plant, NYC (title track recorded at 914 Studios, Blauvelt NY) Produced by Mike Appel, Jon Landau, Bruce Springsteen Side One Thunder Road 10th Avenue Freeze Out Night Backstreets Side Two Born To Run She's The One Meeting Across The River Jungleland What more can be said about this? A true breakthrough album, and arguably, his true masterpiece. For my money, nothing beats the big 4 "bookend" songs. Majestic, dramatic, full-tilt "wall of sound" production. The one album where you can't really argue that anything great was left off. A few notes... -Boom Carter's only recorded track (BTR) with Springsteen -Suki Lahav makes a brief but memorable appearance on JL -Roy Bittan and Max Weinberg's debut with the band -Miami Steve Van Zandt's official entrance into the band & production team -Danny Federici did his phantom thing on this one, barely appearing -Mike Appel's swan song as Springsteen's producer -Jon Landau's entrance as producer And finally...is there a better, more iconic album cover in the history of rock music?
