![]() ![]() Springsteen needs to learn that operettic pomposity insults the Ronettes and that pseudotragic beautiful-loser fatalism insults us all. Just how much American myth can be crammed into one song, or a dozen, about asking your girl to come take a ride? A lot, but not as much as romanticists of the doomed outsider believe. This guy may not be God yet, but he has his sleeveless undershirt in the ring. "New York City Serenade" is as bathetic as you might fear, but "Rosalita" is more lyrical and ironic than you could have dreamed. He celebrates youth in all its irresponsible compassion and doomed arrogance, but he's also old enough to know better-for him, the pleasures of the city are bigger and more exquisite than the defiance and escape that define most hard rock. The Wild, the Innocent and the E Street Shuffle įolkie trappings behind him, Springsteen has created a funky, vivacious rock and roll that's too eager and zany ever to be labeled tight, suggesting jazz heard through an open window with one r&b saxophone, or Latin music out in the street with zero conga drums. And in songs like "Growin' Up" and "Blinded by the Light" there's an unguarded teen-underclass poetry that has Springsteen's name on it. But the jokey lingo and absurdist energy of everything else are exactly the excesses that made Dylan a genius instead of a talent-it takes real conviction to save "But did not heed my urgency" with "Your life was one long emergency." Even urban-mythos rambles like "Lost in the Flood" are not without charm. "The Angel" and "Mary Queen of Arkansas" are turgid unaccompanied-acoustic horrors that could scare anybody off this particular Dylan hype. Bruce Springsteen and the Session Band Live in Dublin **.We Shall Overcome: The Seeger Sessions B.Born to Run (30th Anniversary Edition). ![]() The Wild, the Innocent and the E Street Shuffle A. ![]()
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