ARTIST: Bruce Springsteen
ALBUM: High Hopes
LABEL: Columbia
RELEASE DATE: January 14, 2014
Is The BOSS Back?
Written by Silas Valentino
You could make the claim that High Hopes, Bruce Springsteen’s 18th studio record, came together because of Tony Soprano. While touring in Australia last March, Springsteen and the E Street Band were joined by Rage Against the Machine/ Audioslave guitarist Tom Morello, who was filling in for E Street staple guitarist Steven Van Zandt. (Little Steven was out shooting for his show Lilyhammer, which has deep root inspiration from The Sopranos.)
While Morello was in the guitarist seat, he suggested they play Tim Scott McConnell’s “High Hopes,” a track the band did back in the 1990’s. After tearing up shows with the electrifying “High Hopes,” Springsteen felt that he had more than enough covers, outtakes and rerecorded songs to constitute for an album. “This is music I always felt needed to be released,” Springsteen said in a statement on his website.
For the E Street Band, the Boss never takes a vacation. Springsteen must be restless after consistently releasing new albums every two to three years but neither the work ethic nor 64-year age seems to slow him down. The music still sounds strong and in charge but even the robust can eventually go stale. Since 2002’s The Rising, Springsteen’s music has shifted into arena-ready power anthems where you can close your eyes and visualize his dark collard shirt swaying freely without the top buttons buttoned. His themes still consist of blue collard people living in a bruised America filled with hopeful Americans.
“High Hopes” rattles in as the album opener and it’s quite a pleasant surprise—but you have to remember that Springsteen has already released the same track in 1995 on the Blood Brothers EP. This is just the same song revamped, but it works, mainly due to the strong presence and heavy momentum of Tom Morello. “Tom and his guitar became my muse, pushing the rest of this project to another level. Thanks for the inspiration, Tom.” Springsteen said in the same statement.
Morello plays on eight of the 12 tracks and his tenacious guitar playing is what truly drives this album away from a shabby shelf cleaner into a satisfying early-year record. “The Ghost of Tom Joad” was covered by Morello’s Rage Against the Machine but it sounds best when it comes from the belly of the boss. Morello really shines on “Harry’s Place” where his signature screeching guitar licks are splattered all over the track and fills in the empty spots.
The album’s standout is “Hunter of Invisible Game.” Ignore the simple title, this track sports an effective orchestral hook that draws you in as Springsteen tells the tale he sings best: life as an underappreciated loser.
The best cover on the record, “Dream Baby Dream” begins with a somber accordion chord progression before the Boss comes in doing his best low-voice James Dean vocals. “Dream Baby Dream” was written by the influential punk group Suicide and the original version is a stripped-down, late night walk home alone. But Bruce turns it from a downer looking down into a dreamer looking up—and isn’t that the reason why we love him?