The most frustrating part of Kirkpatrick’s examination of Springsteen’s work, though, lay in his comparative scrutiny of songs that have yet to see the proverbial light of day. Now, most Springsteen fans know that a treasure trove of unreleased material is locked in the vaults and that Tracks barely scratched its surface. Knowing such material exists, though, is different than knowing its specific contents.
Regardless, the author writes of several obscure, as-of-yet-unreleased songs, at times describing their sound – as he does with “One Love” and “Betty Jean,” calling them “rockabilly” and “country” – while at other times explaining their narratives (“Richfield Whistle,” “Losin’ Kind’”).
Altogether, he compares and contrasts such works – including their arrangements, lyrics, and themes – to officially released ones of the same era on albums that anyone can obtain (in this case, Nebraska and Born in the USA). It’s a one-sided assessment, though, because most people (even many diehard fans) neither have these obscurities nor the resources to acquire them to form their own opinions. Knowing the author has heard them doesn’t help the reader or the rock ‘n’ roll listener appreciate what it feels like to hear these songs roaring at full blast.
Point blank, for those serious enough about Bruce Springsteen’s songwriting or career in general, there is no shortage of compelling and comprehensive books available at your local library or bookstore; this one just isn’t among them.
While Rob Kirkpatrick lays out a solid premise and expounds on a few thematic tendencies in Magic in the Night: The Words and Music of Bruce Springsteen, his uninspired and often patronizing analysis does nothing to serve that objective.
Article comments