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Bruce Springsteen - Working on a dream
Review: A throwback to times long gone...
Before I start, I just want to say one thing: I am a Bruce Springsteen fan. I love much of his music, my first concert was him at the RDS last summer, and I’ve just shelled out another €87 for his coming gig at the same venue. Please remember that during this review.
Springsteen has nothing left to prove, his place in legend is already perfectly secure. However, I can’t see Working On A Dream being remembered for as long as the majority of his other albums. With Working On A Dream, Springsteen attempted to capture the feeling in America at this time; one of euphoria and optimism, brought about by the election of Barack Obama, who Springsteen very vocally supported in the election campaign. However, Working On A Dream ends up as a throwback to times long gone, from the pop art-style cover to the lyrics strewn with a mid-life crisis, via The Beach Boys and Byrds-like music.
These influences are very prevalent in this album, especially on the title track, where you expect Bruce to begin Brian Wilson-like falsetto voices. Thankfully, they don’t come. Then, when the background “la-la-las” and whistling (that’s right, whistling on a Springsteen album!) begin, you’re horrified, but not that surprised. “Tomorrow Never Knows”, meanwhile, sounds like The Beach Boys and The Byrds on a retirement holiday in Hawaii.
“This Life”, a possible tribute to recently departed E-Street Bander Danny Federici, personifies a musician hitting his midlife crisis. Perhaps Bruce is now feeling his age, due to the newfound youth element in American politics. For the past eight years, a time when he has made some of his best music, George Bush has been a figure to rebel against, a mean old man. Now, Springsteen, 12 years Obama’s senior, is detached from the new generation, who see Obama as more of an icon and rock ‘n’ roll figure.
“Outlaw Pete”, the opening track, is an eight minute epic that seems slightly unnecessary, and with its orchestra, another retro track. “Good Eye” is another odd number, sounding like a more tuneful version of Tom Waits. “Life Itself” is a good song, but will it still be on the live set list in five years? Two tracks that hopefully will be are “What Love Can Do”, which was demoed during the later sessions of Magic, and ”The Wrestler”, the wonderful Springsteen interpretation of the excellent Mickey Rourke movie. “Surprise, Surprise” is the best upbeat song on the album, and even the scarily bad harmonies can’t ruin the song. “The Last Carnival”, another tribute to Federici, is beautiful in its sentiments, but doesn’t quite make the grade. “Queen Of The Supermarket”, possibly the only Springsteen track with the word “fuck” in it, feels a bit clunky and laboured. There’s more orchestra on the wistful-sounding “Kingdom Of Days”, complete with the repeated lyric “walk away, walk away” (that’s towards you, Mr. Bush!) “Life Itself” could be a great track, but for the vocals, which Bruce never quite nails.
All in all, though he attempts to make a celebratory, forward-thinking album, Bruce’s music just sounds more regretful than it has in years, even though “My Lucky Day” bucks this trend. There is also one major flaw, which is probably unavoidable: due to his age, Clarence Clemnons contributes only one of his sax solos, even though they have been the hallmark of nearly every classic Springsteen album. Because of this, there are plenty of orchestras used, which never quite work.
In finish, please stick to the classics for 11 July in the RDS, Bruce!
Rating: 5/10
By: Ciaran Leinster
