It's okay to re-invent a song — Dylan does it all the time — but the new clothes should fit the old body, which isn't always the case here. "Atlantic City" first surfaced as a barebones dirge, was expanded for the E-Street reunion, and has now morphed into a droning blues joint where the lyrics don't fit well against this new melody. The original is best, but this one is bearable.
I pause now to point out that I like a couple of the re-worked and am indifferent to another because I'm about to rip a couple of instances where the Springsteen-Seeger hybrid falls flat.
If Bruce wanted to sing "Boogie Woogie Bugle Boy," why didn't he just sing it? Seeger was a covers album. This tour is in support of Seeger. He even adds a couple covers that weren't on Seeger. He could have done "Boogie Woogie Bugle Boy" if he wanted! "Open All Night" is not "Boogie Woogie Bugle Boy" and it shouldn't be! He might as well have done "Bugle Boy" and then just done an a capella reading of "Open All Night" for as well as the song's lyrics snap in time with what the band is playing. I like the Hawaiian steel guitar interlude halfway through the song. That part is pretty cool and I wish it lasted longer, but this is just awful. "Open All Night" is Chuck Berry, not the fucking Andrews Sisters!
Sticking with the theme of new clothes and old bones brings me to "If I Should Fall Behind." I love that song. I like the version on Lucky Town. I like the slightly different arrangement on New York City, even if I don't like the vocal turn of every member of the E-Street Band who takes a lead. On Dublin, he turns "If I Should Fall Behind" into something of a country waltz. I don't have a problem with that other than the vocal pacing and arrangement clashes with the new music. It's not as awful as "Open All Night, but is another bad mash-up.
Speaking of mash-ups, Live in Dublin is taken from a string of shows rather than being a single-show performance. Most major label live albums are compilations, a practice that annoys me. I'd much prefer a live album taken from a single, full performance.
Article comments
1 - Dave Lifton
A great read, everybody. Thanks for that!
2 - Josh Hathaway
Lisa McKay... The Voice of Reason.
3 - Lisa McKay
That's probably the first time anyone's ever called me that, Josh. I'm marking the date on my calendar.
4 - Mark Saleski
probably just a random event....though lisa was probably still blissed out on vacation aura.
5 - Lisa McKay
Vacation is my drug of choice!
6 - Glen Boyd
Good read guys (and you too, Lisa). So, when can I play?
-Glen
7 - Lisa McKay
Don't be shy, Glen -- if you have something to add, that's what the comments section is for!
8 - Laser
Great read. Mark, I am trying to break thru security to reach you. What about? August 12, 1978
9 - Mat Brewster
Good stuff folks, and thanks for the nod Mark.
I think I must pick this up, and that soon. Now to just convince the wife.
10 - daryl d
I hate to be rain in on your latest Sprinsteen party, but I have bad news. The album is flopping. It debuted at number 23 and flippityflopped to number 47 this week. That's pretty shocking. Surprised no media outlets are mentioning this, but this is a serious flop.
11 - Lisa McKay
Daryl, you say that as if the record sales (or lack thereof) should somehow have an effect on our enjoyment of the music. Do you only like music that sells well, or do you actually have likes and dislikes that are independent of popularity?
12 - Glen Boyd
Considering the stuff that does "sell" these days, I'd consider Bruce's first week tally of 30,000 some odd units a badge of honor. Bruce follows his conscience and his artistic muse, rather than going whichever way the commercial wind happens to blow this week. Which is why you will never see him make a gangsta rap or an emo album.
So let Daryl blather on about Alannis Morisette, his republican cop friend who has an axe to grind about the song "American Skin," or whoever/whatever. That is, when he isn't bringing his personal gripes about his friends who got canned from Rolling Stone to the table.
We write about music here (amomg other things), and I think we do a rather good job of it. Certain exceptions to the rule notwithstanding of course.
-Glen
13 - El Bicho
How many copies did the music company need to sell to make back their money? All they look at is the bottom line, so unless someone can offer up projected sales numbers claims of flopping are just hot air.
14 - Tom Johnson
Seeing as it's a live release, there are much lower costs associated with this than a studio album. I'm 100% certain that the label was well aware that sales would be dramatically lower for this release than many others. Live albums/DVDs traditionally sell far fewer copies than regular studio albums - they are aimed at hardcore fans, who number much lower than those who buy the big hit studio albums. I would say that Daryl can go back to fretting about something else - this release will not do any harm to Springsteen's viability as a marketable artist. Oh, wait, Daryl was HOPING it was harm his marketability . . . well, he's going to have to keep up his vigil against Springsteen, I guess. Fight the good fight, Daryl! I'm sure you're making a huge impact!
15 - HB Beverly
Also, a point to remember here is that Bruce is the type of artist who if he doesn't make a big sales splash at the start, continues to sell steadily throughout the years. They said the same thing about "Nebraska" when it came out, and everyone initially despised it, but it has since gone on to be platinum in sales, and is regarded as one of his most highly regarded works. Everyone keeps forgetting that Mr. Springsteen isn't your typical Pop/Rock artist. He's one of a handfull of writers that we continually reach back, and look to as a nation for hope, inspiration, and to gain a clearer picture of where we are, and where we've been as that nation.
16 - GK
I'm really not sure what the sales of an album have to do with its value as music; a number of platinum selling albums have been trifles, while some that barely made a blip on the radar are now considered classics. This is a fine live recording and a welcome addition to the Springsteen catalog. My biggest complaint is the album feels a little too polished, and the band doesn't seem to be taking significant risks. Sure, there is the retelling of selections from past albums, but even these, for all their innovation, are a little too calculated. "Atlantic City" is better as the stripped down desperation of a small-time hustler. "Blinded by the Light" is just bad.
I think the bottom line for folks who complain about recent work has more to do with sour grapes over their perception that Springsteen has somehow abandoned values he extolled in "Born in the USA." But that album, like all Springsteen's work, is a celebration of the working class, not an exultation of the Reagan years. In fact, a careful listening reveals his disenchantment with the time. The only difference between Springsteen in the USA and Springsteen in Dublin is an acoustic guitar replacing his electric. The values are identical.
I'm just glad he is still adventurous in his fifties. He could be singing duets with Britney Spears and Bono to establish his continued relevance in the industry; thank goodness he isn't.
17 - epppie
I love Live In Dublin. I agree with the comments that some of the reworkings of Bruce's own songs don't work, especially Atlantic City (and unlike some of the reviewers above, I don't care for Highway Patrolman). On the other hand, I think some of the reworkings work absolutely brilliantly. That's the chance you take when you rework songs and I'm glad Bruce does it. I would observe that when Bruce's reworkings don't succeed, it's usually because he undersings. Sometimes Bruce holds back on the emotion of songs too much, the reason being, I think, that some of the songs feature characters that are obviously not very self-expressive. That's always a dilemma in art. How do you express the unexpressive character?
I don't see how folks have could ever have seen the Seeger Sessions as a weird turn for Bruce - he has long identified with folk music and only more so as time has gone by. It's an inspired move, so in that sense it's a leap - maybe folks mistake a leap of inspiration for a sideways jag.
One of the reworkings I particularly like is Open All Night. Even though that song originally had dirgelike elements, it grew out of the strain of rockabilly influenced songs Bruce created in the late seventies and the early eighties, and rockabilly is right next door to swing. I think the reworking of Open All Night is the centerpiece of Live in Dublin. It doesn't just work, it works magnificently.