Bruce Springsteen was never just a blue collar rock star

 TheBRHM   

"Peel back “Born in the U.S.A.” from 1984 and what you find is stranger than any flag waving anthem. Reagan invoked Springsteen’s message of hope during that same election year and helped reinforce the mistaken belief that the song was a patriotic celebration. . ."   Never go to Springsteen for patriotism. TD

"Somewhere along the way a lot of critics decided who Bruce Springsteen was and quit paying attention. They handed the man a uniform. Blue collar poet. Bard of the assembly line. The voice of some guy clocking out at the plant with grease under his fingernails and a mortgage he will never beat. It was simply never the whole story, and the folks who stop there shortchange one of the most restless magpies American popular music ever produced. To hear the real thing, you have to go back to what raised him.

"Start at the foundation. Elvis. Roy Orbison. Phil Spector. Every one got into him early, long before he had anything of his own. Bruce once told a reporter he wanted “Born to Run” to sound like Roy Orbison singing Bob Dylan with Spector at the boards. “Thunder Road” is the proof, a harmonica and a slamming screen door swelling into something Spector would have wept over. Chuck Berry taught the rest, that a car in a song is never a car, it is a way out, and the kid just stomped the gas.

"Then the horn. Clarence Clemons mattered as much as any guitar in that lineup. His saxophone came out fat and cocksure, King Curtis all over it, a hundred old Stax sessions rattling underneath. Take “Tenth Avenue Freeze Out.” It struts like a revue, the lyric telling the group’s own origin story, gospel style, over a Memphis beat. When the aim is to gut you, Sam Cooke turns up in the phrasing. That whole Asbury Park world, the sticky boardwalk bars where the kid swapped licks with Southside Johnny, ran on rhythm and blues covers before anybody there wrote an original worth a damn.

"His earliest live tapes catch a kid steeped in chitlin circuit energy, with or without a name for it. Gary U.S. Bonds meant so much that decades later Springsteen helped produce the man’s comeback alongside Steven Van Zandt. “Quarter to Three,” that rowdy Bonds smash, stayed in his sets forever. No factory floor in it, just a room full of people losing their minds.

"Go to one of his shows and you are basically in church." . . . More...

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