There were three exciting revelations on the Backstreets website this morning.
The first, that the new Springsteen album will be called Wrecking Ball and will include versions of Wrecking Ball, Land of Hope and Dreams and American Land (presumably studio cuts, since live versions of these are already available), as well as nine other new songs.
The fact that Bruce has chosen to include two songs he had before Working on a Dream on the new album would suggest that he thinks they will fit well with the rest of the body of songs on the album, so I think we can assume that the new songs will follow a similar thread. And the song titles would seem to bear that out as well, as far as we can guess anything from them: We Take Care of Our Own, Easy Money, Shackled and Drawn, Jack of All Trades, Death to My Hometown, This Depression, You’ve Got It, Rocky Ground, We Are Alive, Swallowed Up.
The second, that a song was already available, seems amazing. Although artists do frequently just post tracks online, I would have expected at least a few days notice of a new song appearing. But Bruce does seem to embrace new technology in fits and starts. And to waver between fastidious attention to detail (every album before Lucky Town), and rushing things out in a thrill of excitement (the Live in New York City album, Jersey Devil, Lucky Town). The photo-montage video with lyrics posted for We Take Care of Our Own is definitely in the rushed camp, though there doesn't seem anything rushed about the mixing or sound.
The song seems to sit in the same ball park as Radio Nowhere that will definitely grow on me and be a great piece in his live sets. The sound sounds much more alive and open than it has on much of Bruce's newer work, which also bodes well for the album.
The third exciting revelation this, as recalled by Terry Camp to Backstreets.com following Bruce's Light of Day show this week: "Bruce's 'Big Man!' call during 'The Promised Land,' as the crowd itself sang the sax solo, was quite poignant. I think it was the birth of a moment that would be great to see on the tour, as Bruce, band and audience become one unit paying tribute to Clarence. It felt very natural, and of course the crowd is going to pick up that so-familiar solo. It's an uplifting moment that can stand alone — without an actual sax."
This sounds like an incredible way to replace the key saxophone moments. Was it spontaneous? Did Bruce plan it? Did Bruce trust his instincts that the audience would fill hole, as with Pay Me My money Down over the encore break on the Seeger Sessions tour? I'd love to know how it came about. It'll be great to hear live, too, though I wonder how many times, and how self-consciously, it could be brought out without feeling less natural and all-embracing. I expect, that as with the bridge in Badlands, audiences may just run with it and take it wherever they want.
Now to read the Rolling Stone piece on the 'wild' new, 'sonically experimental' album...
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