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Bruce Springsteen: Western Stars Album Review

The voices in the Western Stars are old and restless, lost and wandering. In the title track, Bruce Springsteen sang from the point of view of an actor who once worked with John Wayne, but now mostly makes credit card ads, Viagra. In another place we encounter a stuntman whose body was destroyed by work, a loner in a parking lot, and an unsuccessful songwriter, wondering if any of the victims he did in his youth is worth it. This song is sung in a broken snarl and is one of the shortest, the toughest things that Springsteen ever wrote: recognition of how fast a song and life can pass. "And this is a deviation from Springsteen's 19th studio album, both geographically and musically. In the rest of the record, Springsteen, with producer Ron Aniello, aims to condemn the golden width of the American West, with extensive orchestral accompaniments other than anything in his catalog. Springsteen's albums are usually spectacular, but he has never created one that sounds so vast and luxurious. Combined with the heroes that pursue the mountains and canyons, purposeful anachronized arrangements ̵

1; recall of jukebox, FM radio, sepia-tinted fittings, faded memories – carry an elegant tone. Long time that popular music sounded like this, and it connects these characters to the era as much as one place.

Nor is it where you expect to find Springsteen, who turned 70 this fall. He has spent the last few years drawing his attention to the most beloved places of his career, from nicely shaped boxes and live shows to a jubilee tour after a commercial breakthrough in 1980. The River . His nostalgic curve ended with two presentations of his life story: 500-page memoir and one-week Broadway. Both start with a wink at his self-described deception – an "absurdly successful" artist who has gathered his wealth by telling stories of blue collar workers and ending with solemn prayers and reflections on mortality. In the book, Springfield discusses the struggles with the depression that have threatened to fail him in the past 10 years. "Sure, just when I thought I was part of my life where I had to travel," he wrote, "my sixty years have been a rude and rude march."

It all comes back to music from Western Stars . "Damn, there is no more in those days," he sighed in the title song, "Now we have it again." Repetition and waiting through the recording as constants – sunrise, sunset. There is a song called "The Wild Horses of Shazin" which prescribes its title as a means of resisting pain; the arrangement becomes more romantic as the choir hardens in the routine. The story of Springfield has always served to reflect the many worries. The darkening thinking and sense of isolation in the early 1930s inspired him to summon the outsiders and the dark motorways of Nebraska ; the navigation of his first marriage led to doubts tormented by the portraits of the love tunnel from 1987 . During his exhaustive live concerts, he is known for joining the crowd to be captivated by the community united by his work. In the studio he has to invent it himself: a sea of ​​faces where he can find his reflection. The Western Stars carry him into a ghost town of broken male narrators, alone with their endless work and shortening the deadlines. He sings from somewhere in between, looking tired after him. Rock & Roll Exorcisms on Street Band with Cycles and Patterns and Tom Morello – This music is a left turn. The stories, however, remain archetypically Sprintine. Sometimes it sounds as if he meets the characters of his song by encouraging or congratulating them. For those wild spirits who have worked from 9 to 5 and somehow have survived to the night, there is a "Sundew", a tour through the bitter-sweet twilight you want to communicate with. After all his promises of escape – these two paths that can take us everywhere – has a hard-spoken narrator of "Hello Sun", warning that "miles to walk miles is far away." a song from the driver's seat, this record opens with "Hitch Hikin" – a folk song, driven by a soft windmill from strings that is sung by a rifle. He invites us to the three-seater rear seats, whose drivers are behind the pillars of Springfield's career. There is a father, a truck driver who heads to a large open highway, and a lone racer in a 1972 harvest, which also happens in the year when Springsteen scored his record with Columbia. These avatars present a record that favors new sounds and perspectives – he often sings like a shadow or as a visitor, believing in the newly discovered habit of breaking the funerals of strangers – but remains carefully rooted in his story. David Sansonis, an early associate who plays the piano's virtuoso solo in New York Sirenade in 1973, returns here to direct the "Travelers" to his tragic-triumphant conclusion. His jaw-touching keys compensated for the impact of Springsteen's acoustic guitar and the earth breeze of his baritone, open and desperate as it once sounded. He admits that putting in his situation most people would be happy with what they have. He knows his worries are nothing new. The title of Western Stars is a phrase that also appears in "Ulysses," the 19th-century Tennyson that Springsteen has taken from before. (Another, more ubiquitous, quote by Tenson is mentioned at the end of this entry, "It is better to have loved," he sings in the Moon Motel, his voice disappears.) It's easy to see why Springsteen finds resonance in these specific things. texts: defining works by a poet suffering from sorrow, wondering if our short, complex lives cost the inheritance we leave behind. Odysseus is told by a hero who is approaching old age, returning from a long road only to realize that he feels better on the road. So he goes back to him again, "to seek, to seek, to find and not to give up." And to stay alive if he can.

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