Outlander, Seasons Boxset. Back to top. Get to Know Us. Make Money with Us. Amazon Payment Products. Let Us Help You. Amazon Music Stream millions of songs. Amazon Advertising Find, attract, and engage customers. Amazon Drive Cloud storage from Amazon. Shopbop Designer Fashion Brands. Warehouse Deals Open-Box Discounts. Amazon Renewed Like-new products you can trust. Blink Smart Security for Every Home. Springsteen played the last concert at Giants Stadiumso he wrote a song about the place.
A great idea trapped an annoying, cloying, unnecessarily busy musical landscape. The title is awful, but the idea held promise. Plus, it would have been good for denizens of the East Coast to hear more stories about the hypnotic power of the West.
A cloying tale of unrequited young love that made it as far as the single-album version of The Ties That Bind. Springsteen would borrow bits and bobs — cars, characters, choices — and employ them in better fashion elsewhere.
The music is pedestrian and the story is unconvincing. The lyrics and story are strong, but the instrumentation is monotonous and uninteresting, making it a slog to get through the song. The whale is used as a metaphor for big banks, the economy, and the decay of the social safety net.
Note: This song was only on the bonus special edition. This one was left off The Rising because the themes of anger and loss had already been addressed. A low-key, down-tempo, country-flavored track about commitment and betrayal. Again, these themes are dealt with far better on the rest of the album. A haunting, ambitious attempt to portray multiple perspectives of the afterlife. This era outtake has a delicate horn arrangement in its favor, but it would have been better handed off to Southside Johnny.
A pleasant little almost-rockabilly two-step with zydeco and Tejano flavors, the type of danceable rocker he has always written. A heartbreaking acoustic dreamscape, dedicated to a family friend and the sons she left behind.
Nevertheless, Federici is utterly delightful in the last minute or so. The vocals are lovely and Roy Bittan acquits himself with brightness and verve, but it feels too much like other, better songs elsewhere on the record.
One of the more conventional numbers on an album that rightly prides itself on its adornments. Bruce goes all-in on his Orbison obsession, with some interesting Spanish-flavored brass in the background.
Waits for you on line one, Bruce. The title track of the Record Store Day exclusive, one of four outtakes left over from High Hopes. A ballad about regret, delivered with real pathos and power. The vocal quality is definitely noteworthy, but it hit the cutting-room floor in favor of songs on The River with similar themes. In this context, a light, fluffy number about hope and optimism is both crucial and welcome.
The title is evocative, but the vocals feel unnecessarily overwrought. Melodically, Bittan and Clarence Clemons bring their A game.
Absolutely majestic performances from both of them. A tale of a tragic attempt to cross the border into the States to reunite with a lover. A heartbreaking song to listen to once, let alone multiple times. The soulful growl, understated melody, and lonely guitar notes hanging out in the corners make this one interesting. An unkind song told by a bitter, scorned man.
The tune seems much nicer than the story actually is. Bonus points for the freak-out that ensues whenever homophobic fans discover it for the first time. Another acoustic number, delivered in a matter-of-fact recitation of events with a delicate, country-ish melody. While none of the songs on this record are necessarily full of joy, this one is just plain dark. It is a lyrical departure for Springsteen, and it is fascinating. The music — a delicate country exploration with mandolin and slide — is more intricate and interesting than the lyrics.
Only Bruce Springsteen gets to use one of his best lines from one of his best songs again without making you wince. A two-minute talking-blues number to close the end of the record. The title absolutely says it all. The mariachi-inspired melody in the background is just enough to knock it up a few spots. Man settles down, man panics, man runs, man realizes there is nowhere to run to, man comes back home.
One of the more genuinely interesting numbers on the record. A milquetoast rumination on jealousy and Someday - Bobby Blue Bland* - Angel In Anguish - The Deep Soul Of Bobby Blue Bland (CD).
Springsteen covers the same themes more dynamically and with greater interest in other songs. A sad tune, but ultimately successful.
This is the second song on the album in which the main character seeks refuge from a broken heart by throwing himself into his work, as the title conveys. Two Mexican brothers come to the U.
An utterly charming, unexpectedly specific story, told within two minutes. Lyrically, it feels more like a demo than an actual finished thought, but even so, the track is one of the more interesting ones on the record. Everyone turns his back on him, and the outcome is sadly predictable.
Bruce likes to write songs and tell stories about his ritualistic need to revisit locations from his past. That absence renders the skillfulness of the arrangement thanks to Jon Brion hollow.
Springsteen should write more theme songs for movies. This one has great atmosphere, along with tension and texture added by percussion and a wicked scratch-guitar riff. A song about love between two worlds — between a Western soldier and a local woman — during wartime. Tape loops, Qawwali singing, and Arabic rhythms open the track, which then expands to layer a rock melody on top. Springsteen has a lot of songs about love and relationships viewed through less than rose-colored lenses, but this one feels like it has shadows in unexpected places, which is of course why it was an outtake.
This is phenomenal political commentary. He might as well have hid it under a rock. And that giggle at the fadeout! It was inspired by Inherit the Windalthough Springsteen took the story in an entirely different direction.
That said, something almost a touch too slick here takes Someday - Bobby Blue Bland* - Angel In Anguish - The Deep Soul Of Bobby Blue Bland (CD) from the intended earnestness.
Fittingly enough, it captures the thoughts running through the mind of a man about to get married for the second time.
More rockabilly fun, recorded at home post- Nebraska. It would be a great Nick Lowe song. With such dubious religious imagery, the overall concept is fine but not memorable. Seems a bit extreme for just parole violation, if you ask me. The instrumentation is also absolutely stellar. Bittan and Federici drive this thing, and Danny powers through the last 30 seconds with an ethereal, stunning riff. Put on your headphones for this one.
A pleasing little doo-wop-inspired ditty, recorded by the temporarily reunited E Street Band inwhen Springsteen got the band back together to record a track or two for his greatest-hits album. Jangly and frenetic, this is a song you could dance to in the rec room. Plus, he successfully addresses the subject that dodged him for quite some time: healthy adult relationships. After all, Springsteen wrote the song to poke fun at the kinds of things written about him in the gossip sections.
On tour, however, it transformed into a political statement about the L. Give a good listen to the earnest and hopeful vocals, underpinned by bright Someday - Bobby Blue Bland* - Angel In Anguish - The Deep Soul Of Bobby Blue Bland (CD) and baritone sax as the E Street Band sings backing vocals, with those party noises on the bridge. If the song had actually made it onto Darknessone would hope that Springsteen planned to cut the Jimmy Iovine line.
Springsteen directly holds accountable those that sent them there. This mournful and dramatic outtake has the dubious distinction of being a song that Springsteen completely forgot. When he was putting the box set together, he asked around for some suggestions, and a friend gave him a tape with the song on it. Sultry and heated, this underrated song should have been used for something, even if it never fit on Darkness. Take note of the maracas and those beautiful little flourishes from Bittan on the piano.
Springsteen has only played it live once, in Madrid. The horn line alone is life-affirming. This is that, but set to a properly countrified tale of actual evil villains. An affectionate, piano-drenched love letter to a distant love. He opens the record with this problem statement: Despite everything that might follow, love still eludes him. The last verse is deliberately left open to interpretation, which amplifies the impact of the rest of the song.
A wistful, spirited remembrance of the Jersey Shore club scene. How else Someday - Bobby Blue Bland* - Angel In Anguish - The Deep Soul Of Bobby Blue Bland (CD) you describe this exaggerated, knee-slapping, electronic folk number? Musical highlights include a gorgeous sax solo from Jake Clemons that his uncle would be proud of and Roy Bittan on the glockenspiel in homage to Danny Federici. On the other hand, the echo on the chorus is both out of context and jarring.
Springsteen invokes Wild Billy and two kids running away to join the circus, over a quiet acoustic background, with an ethereal chorus against a fairground calliope until fadeout. Danny was the longest tenured member of the E Street Band — he stuck with Bruce through the thin times, the bad times, and the good times — so the analogy could not be more heartbreakingly apt.
His voice and guitar share a gentle melody through the first verse and chorus, but a minute in, as we reach the second verse, the strings coast in from behind and the acceleration expands in the verses and choruses to follow.
The guitar duel between Springsteen and Tom Morello is the most interesting part, to be honest. I wish Danny Federici was still with us to hear what he Someday - Bobby Blue Bland* - Angel In Anguish - The Deep Soul Of Bobby Blue Bland (CD) have done with it — all props to Charles Giordano for stepping into those shoes. Springsteen approaches the first Gulf War and Los Angeles gang wars with a dark, haunting melody, using low chords, slide, and a deep blues harmonica to tell a tale of harsh reality and grim choices.
The melody sounds like the rhythm of a freight train. Like that book, the song shows rather than tells. A sexy, fun little number with a backbeat you can dance to. Bonus points for not sounding overproduced or mechanical, like so many of the other songs on this record. The strings are expressive and expansive, but Springsteen has a surprise for us on the bridge, when the horns swoop in and the entire loping, triumphant melody could easily fit in a John Ford Western. This country-and-western-flavored track is the artful conclusion to a record full of longing and unanswered questions.
Yet another song written from the perspective of the veteran, this Someday - Bobby Blue Bland* - Angel In Anguish - The Deep Soul Of Bobby Blue Bland (CD) from the second Iraq war. So much lost potential. How did this get left behind? It works because he genuinely means it. And he tells this story in a delightfully jangly, string strummed anthem courtesy of Little Steven Van Zandt. The breakdown at the end is textbook, classic E Street: sax solo, handclaps, la la la lascymbal crashes, piano chords raining down.
For a kid from New Jersey, Springsteen understood the city as well as any native son, but he also had the blessing of not taking the place for granted. He saw the details that locals overlook after a while. The story goes a little something like this: One night during the Born in the U. He was trying to capture the ability to make his audience laugh, an element he admired in his favorite performers, like Little Richard or Jerry Lee Lewis. Springsteen revisits the song he gave to Southside Johnny in With this version included, Darkness becomes a completely different album.
An evocative, solid rave-up. Not all homecoming songs are about triumph. His vocals are laid bare, nothing buried in the tune, his voice on the edge of anguish. It sounds ancient, as if it has always existed. It sounds like it was written decades ago. It is a more immediately recognizable Springsteen song while still being sonically fresh, even if what Bruce is doing here is his best Jimmy Webb interpretation which is not a bad thing!
The song has an infectious backbeat, and Bruce relishes the challenge of singing with another strong vocalist. A delightful classic rockabilly romp from end to end. Springsteen shouts and screams and testifies with great driving percussion behind him, as guitars play in keys matching the organ.
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