Music review: Bruce Springsteen — ‘High Hopes’
After delivering the smashing “Wrecking Ball,” Bruce Springsteen is now offering “High Hopes.”
While “Wrecking Ball” served as a symbol of America’s damaged economy and the millions of Americans struggling to find healing from the emotional and financial scars, Springsteen returns to paint yet another vivid portrait of today’s fragile social climate.
His 18th studio album features an unexpected collection of songs consisting of covers, outtakes and remakes. Joined by the E Street Band, Springsteen also teams up with guitarist Tom Morello (Audioslave and Rage Against the Machine) to assemble a flawless cast to breathe new life into the compelling combination of tracks.
The new album also contains posthumous appearances by saxophonist Clarence Clemons and keyboardist Danny Federici. First recorded by Springsteen on “Blood Brothers,” the title track is an uptempo anthem powered by Morello’s cutting guitar leads and a stirring horn section.
A promising start quickly turns seedy with “Harry’s Place.”
Originally left off “The Rising,” this tale of mobsters and corruption is graphically dark and sleazy as the unmistakable saxophone playing of Clemons serenades the ominous lyrics. A healthy shot of spiritual redemption is witnessed on “Heaven’s Wall” and “This Is Your Sword.”
Both arrangements seemed destined to be part of a Springsteen gospel album, only to be discarded for what would become “Wrecking Ball.” “Just Like Fire Would” serves as an infectious and spirited cover with a charming vibe that is pure British pop.
A youthful and playful energy is captured on the Springsteen-penned love song “Frankie Fell in Love.” The album’s signature moment finds Springsteen and Morello offering up a powerful one-two punch on the transformed “The Ghost of Tom Joad.” Morello’s presence adds a renewed fire and anger to the original acoustic version.
While “High Hopes” certainly has its share of memorable moments, it’s an album for only hardcore Springsteen fans to fully savor. My favorite Springsteen album remains the gritty “Darkness on the Edge of Town,” while the uninspired “Human Touch” serves as my least favorable.
“High Hopes” falls somewhere in the middle of these two releases.