Working on a Dream
Bruce Springsteen
Release date January 27, 2009
Lakin Report
Outlaw Pete
The record starts with a rousing romp through the badlands, while Pete ages. Born into a life of crime. Runs and then is caught by the river. A bit repetitive then slows and hits the point where Pete really goes down the path, shooting the lawman dead. Forty days and nights reference ties to religious themes. Wall-of-sound goes into nothing except a lonesome harp and "strings"???? Can You Hear Me?? Yes but not sure what you are asking me to feel or to think. Pity for the outlaw, uuhhmm OK.
My Lucky Day
Happy Bruce? Decent riff but I'm not really being moved.
Working on a Dream
Happy Bruce II? kind of boring
Queen of the Supermarket
Huh? Happy again? Guess domestic bliss is catching up with him. Although he has better looking checkout girls at his store than I have at mine.
What Love Can Do
More interesting track has a snarling sort of vibe, with the guitar snaking in and out. 'Can't stop the train when it comes crashing through' - like that visual describing when love hits. Short and sweet.
This Life
Brian Wilson meets awkward lyrics - banal. This life and then the next, I have been blessed, what more can you expect???? Yikes.
Good Eye
Nice start, syncopated, lyrics are forced out but seem real and heartfelt. Sort of bluesy and western sounding at the same time. Voice coming through some kind of old time speaker - much more interesting than the previous track. Great harp. Minimalist instruments. Not much Clarence on any of it so far.
Tomorrow Never Knows
Creedence rhythm to start. Seems like "less is more" is coming through. Wall-of-sound is gone? Nice track.
Life Itself
Nice story, talking about someone I'd like to know more about. Production sounds kind of rushed, like they could have done better with more time. But I sort of like the rougher, more unpolished tone.
Kingdom of Days
Same voice, as previous - happy again. This guy is really in love. I love you, I love you, I love you, I do. Let's see, does he really love her? I'm guessing yes. (I really love my lady, wanna hear me tell you over and over?)
Surprise, Surprise
Happy number -- sorry lost count. Happy Birthday song. Surprise, surprise, surprise...... over and over. Get it??!!
Last Carnival
Simple, acoustic start. Seems heartfelt memory of the days at the carnival. Nice bridge, 'moonlight was in your eyes, daybreak you made me ache'.
The best song so far. Takes me to a place I can feel. Very nice images. He still has it.
Wrestler [*]
Streets of Philadelphia vibe - sorry no Oscar this time. Nice images - one-legged dog. Leave with less than I had before.
Last two songs are the best of the album. Cannot understand where Rolling Stone gave it 5 stars. To be clear, Bruce has more talent in his little pinky than I can dream of having. In some respects it doesn't feel right to comment on his work. On the other hand, why not. Writing about records helps me to "hear" it in a different, more substantial way than if it is just playing.
I am very happy Bruce is happy. He deserves it. He has given me and many people I know immense pleasure. It is nice to be in Love. Just not sure what it does for this record. More songs like Last Carnival and Wrestler would have been welcome. But hey, it's just my take on it.
Tuesday, January 27, 2009
Why Do You Like A Song?
I was reading another blog called setting the woods on fire
His idea is to use Venn diagrams, or overlapping circles to explain why a song appealed to him. I liked the concept, trying to make what I like more understandable, but use different metrics.
His are Quallity with Familiarity on one side and Nostalgia on the other. So, it had to be well-done but either have a hint of new or of old.
Really interesting analysis. For me it was always just the "sound". did it hit me, move me, make me open my eyes a bit?
But I really like the Venn diagrams. I would probably label them as the "sound", the "passion" and the "riffs or quality" in the middle. My records were The Beatles White Album, The Band, Allman Brothers' Live at the Fillmore, later Bruce's The Wild, The Innocent and the E Street Shuffle and then later still an obscure song done at a Dylan concert called Born in Time. A friend had given me a tape and now I'm a certified Bob head.
I think all of this music took me to a different place but it did build on the music that came before. Sounds like his Venn diagrams. But there had to more. It had to move me in a way that was new. It wasn't quite as logical as this makes it sound. More just like, Ah Hah!!! I like that. It sounds good. I want to hear it again. What else is like this? Who are these guys?
This takes me back, trying to remember where the different musical peaks have been. Fun to do. Maybe you'd like to as well. If so, leave a comment. Maybe like me your comment will turn into a post. If so, send it to me. There is more here to consider.
His idea is to use Venn diagrams, or overlapping circles to explain why a song appealed to him. I liked the concept, trying to make what I like more understandable, but use different metrics.
His are Quallity with Familiarity on one side and Nostalgia on the other. So, it had to be well-done but either have a hint of new or of old.
Really interesting analysis. For me it was always just the "sound". did it hit me, move me, make me open my eyes a bit?
But I really like the Venn diagrams. I would probably label them as the "sound", the "passion" and the "riffs or quality" in the middle. My records were The Beatles White Album, The Band, Allman Brothers' Live at the Fillmore, later Bruce's The Wild, The Innocent and the E Street Shuffle and then later still an obscure song done at a Dylan concert called Born in Time. A friend had given me a tape and now I'm a certified Bob head.
I think all of this music took me to a different place but it did build on the music that came before. Sounds like his Venn diagrams. But there had to more. It had to move me in a way that was new. It wasn't quite as logical as this makes it sound. More just like, Ah Hah!!! I like that. It sounds good. I want to hear it again. What else is like this? Who are these guys?
This takes me back, trying to remember where the different musical peaks have been. Fun to do. Maybe you'd like to as well. If so, leave a comment. Maybe like me your comment will turn into a post. If so, send it to me. There is more here to consider.
Saturday, January 24, 2009
M. Ward's Hold Time
M. Ward's new album - Hold Time has a relaxed but very tight feel. It seems loose but there are no extraneous notes, no superfluous instruments. Everything is put together well. But the one thing missing is passion. The record is cerebral, well-crafted and in many respects beautiful. Track by track follows:
In For Beginners he sings about Mt. Zion & Caledonia. Mt. Zion is the mountain outside Jerusalem and Caledonia is Scotland. Nice riff - mainly guitar & vocal
Nobody Like You is kind of a rambling tune with a bit of synthesizer, simple yet heart-felt. Basic but there is a deeper level. The best song on the disc.
In Jail Bird he's crying for help but no one hears except the Angel coming down. Bit of reverb on voice to fatten it up, light drums, short, breezy, seemingly shallow, pop tinged.
With the title track, Hold Time, there are lush strings, and a slow, figure played in a swampy sounding synthesizer. It is much different from other songs, like it was done at a different time. It has heavy voice echo and like the other songs is very short.
Buddy Holly's Rave On, very near the 50th anniversary of the legend's death is a smokey, languid affair. It might work better with people who don't know the original.
To Save Me - sailing over the edge with an up tempo, Beach Boys influenced tune. The title line repeats - to save me from sailing over the edge.
The blues tinged One Hundred Million Miles is mostly vocal and guitar. It shows a limited vocal range and inflection. It is so restrained.
The electric piano is dominant on the intro to Stars of Leo. It does kick in with the band including bass and drums. It has the most interesting instrumentation and really seems to rock a bit. Then it slows down and fades out.
The Fisher of Men has a country bass line and honky-tonk feel. The voice seems tired, world-weary. Understated and restrained. Makes me wonder what it would sound like live.
Oh Lonesome Me features Lucinda Williams, who everyone I know likes but whose voice is not my favorite doing the classic Don Gibson song. Really slow and thoughtful.
Epistemology - raised in a Catholic school, more of a full on rocker than the other songs, could imagine it getting a workout live.
Blake's View - death is just a door. Ruminations about life, death and everything.
Shangri-La has some nice guitar.
Outro - instrumental, town with no pity kind of feel, sad sort of desolate image,
I really wanted to like this record. She and He, his collaboration with Zooey Deschanel is a very well-crafted and enjoyable record. This in well done but ultimately less than satisfying. Having said that M. Ward is a very talented and gifted writer and performer. I suspect good things are in his future.
In For Beginners he sings about Mt. Zion & Caledonia. Mt. Zion is the mountain outside Jerusalem and Caledonia is Scotland. Nice riff - mainly guitar & vocal
Nobody Like You is kind of a rambling tune with a bit of synthesizer, simple yet heart-felt. Basic but there is a deeper level. The best song on the disc.
In Jail Bird he's crying for help but no one hears except the Angel coming down. Bit of reverb on voice to fatten it up, light drums, short, breezy, seemingly shallow, pop tinged.
With the title track, Hold Time, there are lush strings, and a slow, figure played in a swampy sounding synthesizer. It is much different from other songs, like it was done at a different time. It has heavy voice echo and like the other songs is very short.
Buddy Holly's Rave On, very near the 50th anniversary of the legend's death is a smokey, languid affair. It might work better with people who don't know the original.
To Save Me - sailing over the edge with an up tempo, Beach Boys influenced tune. The title line repeats - to save me from sailing over the edge.
The blues tinged One Hundred Million Miles is mostly vocal and guitar. It shows a limited vocal range and inflection. It is so restrained.
The electric piano is dominant on the intro to Stars of Leo. It does kick in with the band including bass and drums. It has the most interesting instrumentation and really seems to rock a bit. Then it slows down and fades out.
The Fisher of Men has a country bass line and honky-tonk feel. The voice seems tired, world-weary. Understated and restrained. Makes me wonder what it would sound like live.
Oh Lonesome Me features Lucinda Williams, who everyone I know likes but whose voice is not my favorite doing the classic Don Gibson song. Really slow and thoughtful.
Epistemology - raised in a Catholic school, more of a full on rocker than the other songs, could imagine it getting a workout live.
Blake's View - death is just a door. Ruminations about life, death and everything.
Shangri-La has some nice guitar.
Outro - instrumental, town with no pity kind of feel, sad sort of desolate image,
I really wanted to like this record. She and He, his collaboration with Zooey Deschanel is a very well-crafted and enjoyable record. This in well done but ultimately less than satisfying. Having said that M. Ward is a very talented and gifted writer and performer. I suspect good things are in his future.
Friday, January 23, 2009
Merriweather Post Pavilion
This is a tough record. Tough to get your mind around, tough to sit through and difficult to digest. But it rewards a listener who stays with it and does not go back to the TV or some easier to understand music.
It is epic in scope and ambition. These guys are not aiming for the lowest common denominator. They are reaching for the stars and hit the moon.
The record has layer upon layer of sound. The lyric repeats and winds like a vine around an old fence post. It sounds better with subsequent listens. Don't give up, listen on NPR here.
It will go off NPR and then will be a record to consider.
Music News and Directory at Lakin Report.com
It is epic in scope and ambition. These guys are not aiming for the lowest common denominator. They are reaching for the stars and hit the moon.
The record has layer upon layer of sound. The lyric repeats and winds like a vine around an old fence post. It sounds better with subsequent listens. Don't give up, listen on NPR here.
It will go off NPR and then will be a record to consider.
Music News and Directory at Lakin Report.com
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