Great Moment In Springsteen Comic Book History - Guardians of the Galaxy #148

It's been a while, but the worlds of Springsteen and comics have finally crossed over again!  Unlike previous entries, I have not read Guardians of the Galaxy #148, so I don't know exactly the context.  I assume Drax is picking up the sax, to try to emulate his hero Clarence Clemons.  However, while listening, he is overwhelmed by the emotion of the song, and cannot continue.  Listening to the Big Man is a heart-wrenching moment for this particular big man.

Well, at least that's what I think.  I guess I could look up what exactly was happening, but where's the fun in that? 

The 30 Day Song Challenge, Day 10

Day 10 - the big fat hen of days.  Today's challenge is to find a song that makes you fall asleep.  That's....an odd challenge.  It could be interpreted negatively - in that a song is so boring that it puts you to sleep.  However, I'll go with the positive interpretation - that the song puts you in a nice, relaxed state and sweeps you away to dreamland:

"Jungleland" is perfect for this.  It's slow, and long (it takes me a while to fall asleep).  But, once I get to that beautiful sax solo, I'm in the perfect state for a nice nap.

Which songs make you fall asleep?  Feel free to answer in the either positive or negative reading.

Song Spotlight - "Jungleland"

Key Live Performance



I tend to go with more "recent" performances in these sections (if you could call the late 80s or early 00s "recent"), but for the final song, I'm going way back to Bruce's seminal performance at Hammersmith Odeon.  If you haven't watched the whole concert, you are missing out on one of Bruce's best (and easily the best assembly of hats for one single band).

Key Lyrics

"Man there's an opera out on the Turnpike
There's a ballet being fought out in the alley
Until the local cops
Cherry Tops
Rips this holy night"

Sometimes, Bruce's critics like to pick on his flowery lyrics.  However, "Jungleland" sees this criticism, and takes it to the extreme.  This section is among my favorites; various types of performance theater are used to create a holy night.  And why just say "the cops showed up" when you can describe their headlights as "cherry tops"? It's an interesting and engrossing creative choice.

Overall

How do you finish one of the greatest album of all times?  After song after song of epic anthems of youth and freedom, where do you go now?  Well, "Jungleland" answers this by doubling down on all the themes and pulling out all the stops.  The longest song on the album, "Jungleland" is takes you on a journey through Springsteen's world - a world where you can imagine all the other characters in the previous songs living.  As Louie CK once pointed out, you can sense the utter sadness and loneliness at the end, which would set the stage for Springsteen's next three albums.

Song Spotlight - "Meeting Across the River"

Key Live Performance



Born to Run has a bleak narrative trajectory. It begins in a town full of losers and ends in Jungleland where the heroes wind up "wounded, not even dead."

“Meeting Across the River” – a song you will never hear requested at a bar – is the album's lynchpin. It is the subtle prelude that sets the scene for the 9 1/2 minute, operatic conclusion in “Jungleland”.

I chose the video above not just because I was at the MetLife leg of the Wrecking Ball tour but because it perfectly preserves that segue between the two final tracks of Born to Run.

Key Lyrics
“And the word's been passed this is our last chance”

At every turn, Bruce makes it crystal clear where this story ends.

Overall

Even while being the “smallest” song on the album, “Meeting Across the River” heightens everything around it, serving as the turning point where petty hijinks evolve to hard crime and youthful malaise evolves to Greek tragedy. The song is a masterful ballet of trumpet, piano, bass and vocals with each of the four instruments working together to create a vivid cityscape.

Under the Influence - Bruce Springsteen!

The music world has been rocked by recent "rip-off" scandals, such as Sam Smith/Tom Petty, Robin Thicke/Marvin Gaye, and (after 30 years) Guns N Roses/Australian Crawl.  We here at Legends of Springsteen have previously chided artists for trying their best at aping Springsteen, too.  However, it is in this author's personal opinion that we shouldn't judge music "rip-offs" that harshly, as artists generally wear their influences on their sleeves.

So, today, instead of spotlighting an artist that Springsteen has influenced, we'll spotlight a few artists that have influenced the Boss.  There are obvious ones like Bob Dylan and Van Morrison, but this time, we'll take a look at some Springsteen songs that sound suspiciously like previous hits.  First up, let's take a look at some classics from Born To Run.

Bo Diddley Beat / "She's The One"





In "She's The One", Bruce uses the classic Bo Diddley beat.  This beat has been used in a ton of pop songs, but the ones I hear the most with just the beat are Buddy Holly's "Not Fade Away" and George Michael's "Faith".  It's an iconic beat, so it's no shame in Bruce stealing from the best (you can also sorta hear this beat on "High Hopes" as well).

"Tiny Dancer" / "Jungleland"





Specifically, we are talking about the piano introductions on both songs.  I guess I kinda see this one, but it is fleeting.  The songs are just four years apart, so I'll leave it up to you to make the call.

"Don't Let Me Be Misunderstood" / "Badlands"



The video above is just a small excerpt from Bruce's 2012 keynote speech at SXSW.  The first five minutes is dedicated to his love of The Animals, pointing exactly how they inspired him.  At the end of the video, however, Bruce clearly illustrates how "Don't Let Me Be Misunderstood" directly influenced "Badlands".  As Bruce says at the end, "Listen up youngsters!  This is how successful theft is accomplished!"

Now, you may be saying, "Hey goober, all these examples are from Bruce's early career!  Of course a young artist is going to rely a lot on his influences."  Fairly noted.  So, let's take a look at some examples from later on down the line.

"867-5309 (Jenny)" / "Radio Nowhere"



Hard to argue with this one - it's one of the more blatant offenders I've heard in the last ten years.  But kudos to Mr. Tutone for letting it go and not lawyer-ing it up.

"I Was Made For Lovin' You" / "Outlaw Pete"



We here at Legends of Springsteen are no fans of "Outlaw Pete", which has come up with a disturbing amount of frequency on this blog.  However, we have previously noted that KISS has taken from the Boss, so turnabout is fair play, I say.

"Small Town" / "Just Like Fire Would"





Ok, let's see if you can follow this one.  You have Bruce Springsteen, who inspired John Mellencamp.  Then, years later, Bruce Springsteen is inspired by a punk band called The Saints.  He covers the band, using an arrangement similar to John Mellencamp.  Can you really rip someone off who has been ripping you off?  Like the KISS example above, turnabout is still fair play.

So, there we have it.  In this humble author's opinion, I believe we need to relax whenever one song sounds somewhat similar to another song.  Often in these scenarios, people like to get on a very high horse.  Sometimes they'll criticize a particular artist mainly because they have an axe to grind against them (which happened a lot with Lady Gaga's "Born This Way").  More often, I've seen this old chestnut - "There's no original music anymore!"  Well, next time you hear some fuddy-duddy complaining about originality in music, please direct them to this post.  As you can see, every artist is guilty of being, let's say, "overly-inspired" by their predecessors.

Best Of The Bruce Build-Ups

As we all know, there's nothing better than seeing Springsteen live.  Granted, the songs sound great in studio, but live?  Surrounded by thousands of screaming fans, and watching the man himself go crazy for three straight hours?  It really has to be seen to be believed.

My favorite moments in each concert are the "build-ups".  You know the moments I'm talking about: where the song reaches an emotional high point, teeters there for a moment, and then Bruce sends it crashing down.  Here are, in my humble opinion, the songs that, from the first chords, have me eagerly anticipating that build-up-and-crash.

5. "Badlands"



"Ooooooh, oh oh OH oh...."  It's a call that's become so synonymous with the song that I'm surprised that it isn't actually on the studio version (it's more of a low hum).  The chant is so popular that it frequently used as a call for an encore!  After the saxophone solo, the chants start, building in volume and intensity, just waiting for Bruce to return to the song.  Then, "For the ones who has a notion..." leads the way to the climactic line: "I want to SPIT in the face of these BADLANDS!"  I saw "Badlands" live in my first Springsteen concert, and had a similar experience to the above performance.  Since that time, it has been cemented as an all-time favorite Springsteen song for me.

4. "Darkness on the Edge of Town"



"Darkness on the Edge of Town" is a song that slowly lulls you in.  It's gentle rhythm is easy to listen to, and it's melancholy story is engrossing.  Then, Bruce's wailing chorus kicks in, and you are hooked.  But, it doesn't end there.  The verses return to being gentle and approachable, while the story gets richer and darker.  Finally, the build-up breaks, culminating with Bruce screaming "TONIGHT I'LL BE ON THAT HILL, BECAUSE I CAN'T STOP!"  It is chillingly effective each time.

3. "Jungleland"



Bruce's climatic build-ups are not only in signified by massive guitars and primal wailing.  Sometimes, the build-up leads to a whisper, and it is no less dramatic.  This is best signified in the conclusion of the musical epic "Jungleland".  The journey Springsteen takes us on in "Jungleland" is sprawling, beginning slowly with violins and a piano, becoming an up-tempo rocker, transitioning to a somber saxophone solo, and concluding back again with the piano.  After this nearly ten minute adventure, the music stops.  It is now just Bruce and the audience.  "Tonight.....in....."  Anticipation builds with each out-of-rhythm syllable.  "Jun...."  When will the next one drop? "Gle...."  And, finally, finishing the build-up with long, low growl: "Laaaaaaaaand....."  The piano kicks back in, taking us away from this world.  Amazing.

2. "Tenth Avenue Freeze Out"



I've been writing about this since, quite literally, the start of the blog.  It's a simple, repetitive riff, but each time, the anticipation builds.  As the song is basically the origin of the E Street Band, this build-up is functional to the storytelling process: it signifies that this is truly the start of something special.  s I wrote back then, I could listen to those opening notes on repeat for hours.  But, evenutally, Bruce reaches that "One two!" and brings it to the drop.  The song is filled with "moments" that you anticipate, such as "Kid you better get the picture" and "When the Big Man joined the band", and concludes triumphantly, but that opening build-up/drop sets everything in motion.

1. "Born To Run"



Come on, you knew this was coming.  This is what the build-up list has been building up to.  I feel silly describing the moment, because most fans know what it is already.  An everlasting kiss.  A saxophone solo. It all comes crashing down.  You shake your hands in the air.  You shake them longer.  Then, after an eternity, you hear "One two three four! The highway's jammed with broken heroes...."  And the crowd goes bonkers.  Not just one of the best Bruce build-ups, but one of the best rock-and-roll build-ups of all time.

So, are there any that I missed?  Let us know in the comments!

Video Spotlight - Louis CK on Loneliness, featuring Springsteen

Louis CK has been my favorite comedian for nearly a decade now.  I remember my first exposure to him was in the 90s, probably on one of those random Comedy Central specials, and I just filed him away as "generic white comic #644".  However, around my junior year of college, I discovered his excellent Live In Houston album (sadly out of print), and was instantly hooked.  Over the last 10 years, Louie's career has rose meteorically, to the point where I really don't need to explain who he is to anyone anymore.  Outside of his stand-up, his innovative deals that he has struck with both the filming of his television show and the distribution of his concert tickets and videos have been hugely influential on the comedy industry.  Personally, I've enjoyed watching his comedy evolve, as you can see "him"* go from a selfish, petty, and scared asshole to a humanist who has come to peace with his failings.

*Note: I put "him" in quotes just because it is important to distinguish that how the performer presents himself as a comedian is not necessarily who that person is.  Some comics do come off as more sincere, while others make it clear that they are playing a character - just see Jon Stewart and Stephen Colbert.  However, it is sometimes when these lines are blurred is where comics can get into trouble, such as Andrew Dice Clay and Daniel Tosh.

Louie has always been fantastic on his talk show appearances, but over the past few years, his demeanor has become more relaxed and less "joke-y".  In his some of his most famous Conan appearances, Louie just goes full on into his comedy set, telling jokes immediately and get huge laughs.  However, it the performance above, Louis takes a more conversational, slower tone.  He is still on the subject of cell phones, and rather than focusing on the entitled people using them, he focuses on how the technology itself is divorcing the users from the human experience.  It's a difficult joke to tell, and Louie guides his audience along a long narration.  Eventually, they hit the subject that made me write this post: Bruce Springsteen.

Around the two-minute mark, Louie talks about listening to "Jungleland" on the radio.  Both he and Conan take a pause from Louie's story to ham it up with cartoon-y Springsteen impersonations.  Knowing how seriously Louie takes the joke-writing process, it is clear that invoking of Springsteen, and specifically "Jungleland" is not an accident (although Louie does "forget" the name of the song).  Springsteen is a universally known performer, and the chance to do an over-the-top Springsteen impersonation gives some goofiness to the somber story he was telling.  While "Jungleland" isn't as broadly known, it is the perfect Springsteen song to punctuate the joke, as those who know the song instantly connect to the moment Louie is talking about.  In the end, Louie crafts a sad, funny tale that eloquently describes what we here at the blog have been amateurishly trying to express: that the perfect Springsteen song can be a kick you right in your emotional gut, and connect you to parts of your humanity that are often neglected.

Bruce Springsteen and the Sesame Street Band

Several months ago, my wife and I were babysitting our niece and after a few hours of reading books and playing with toys, the method of entertainment turned to watching YouTube videos on an iPhone. Our niece repeatedly requested “Ernie” and following back-to-back viewings of “Rubber Ducky,” we began searching for other Sesame Street videos to watch. Knowing that Sesame Street has a history of pop culture awareness and celebrity guest stars, I went out on a limb and searched for “Sesame Street” and “Springsteen.” While I didn’t find a clip of Bruce himself on Sesame Street, I was delighted to find two parody songs: “Born to Add” and “Barn in the U.S.A.”






Of the two, “Born to Add” is clearly the better song. It captures the melody and energy of three Springsteen classics (“Born to Run,” “Jungleland,” and “Thunder Road”) very nicely without making it too hard rockin’ for kids. It even amalgamates the three songs so smoothly that I didn’t realize it was a medley until I read it in the YouTube comments. It also features a nice nod to the Jersey Shore.

For my taste, the melody of “Barn in the U.S.A.” sounds a bit too threatening and almost demonic. However, it has a lot of animals, which is a surefire way to spark interest with kids. I also love the Bruce puppet in this one.

Whichever song you prefer, I love that these exist. Hats off to the good people at Sesame Street. These videos not only give adults access points to child-friendly entertainment but also do their part to introduce the magic of Springsteen to kids at an early age!

Lyrics Spotlight: "Jungleland"

"The midnight gang's assembled
And picked a rendezvous for the night."
--Jungleland, Born to Run

Who doesn't love "Jungleland"?  Seriously.  Point that person out to me, so I can mock him for his overwhelming lameness.

I feel that same way about New Year's Eve, one of my favorite nights of the year.  People will often complain about New Year's Eve, saying that they have too much pressure on them to find something fun to do.  This complaint is frequent among the "party" holidays, such as Halloween and St. Patrick's Day.  These folks need to gain some perspective - if going to a friend's place to hang out and drink is your biggest source of stress, you are leading a pretty darn good life.  New Year's Eve isn't much more complicated than assembling your favorite gang at midnight and picking a place to meet.  I'd suggest going to that giant Exxon sign that brings this fair city light.

(On a side note, this concludes year one of LegendsOfSpringsteen.com.  On behalf of Steve and OB, we would like to thank you all for reading.  Have a great New Year!)

Well I Got This Guitar, and I Learned How to Make It Talk: Five Phenomenal Bruce Tune Featuring the Six String

While waiting for a meatball parm sub at Wawa last week (if you can imagine a concept more rooted in Jersey culture), I found myself perusing through a back issue of Rolling Stone Magazine.  The cover story featured a ranking of the 100 greatest rock guitarists to ever pick up an axe.  As I wound down the list of usual suspects, from the Hendrixes, to the Claptons, Van Halens, and Santanas, I made a startling discovery.  Coming in just under the wire at number 100 was none other than the Boss.  Don't get me wrong - while Bruce's faded wood-toned Telecaster is an unmistakable grail of rock iconography, a Springsteen concert might not be the first place you'd go to hear a litany of face melting guitar solos.  That said, the Boss can still shred, and his ranking is more than earned.  Here are five of the greatest guitar tunes ever imported from E Street.

Cover Me



An explosive opening solo makes this tune among the most dynamic on Born in the U.S.A. - no small feat considering the magnitude of the album.  There is a certain frenzied pace to each scale that compliments the desperation of the lyrics perfectly, setting the tone for a wonderful song.

The Promised Land



One of Bruce's greatest compositional qualities is his ability to pair guitar solos with solos from other instruments (usually saxophone or harmonica), allowing for a unique musical contrast (see "Because The Night" and "Jungleland).  The harmonica and guitar in "The Promised Land" compliment one another flawlessly.

The Rising



Sometimes it isn't the speed or technicality that makes the guitar solo, but its placement in the song.  Little Steven's work on "The Rising" track kicks in at exactly the precise moment, helping to elevate the song into the post-9/11 redemptive hymn we've all come to love.

Jungleland



Perhaps Bruce's greatest musical composition, "Jungleland" has risen to the level of a nine-minute opera.  While undoubtedly remembered for its riveting and heartfelt sax solo, "Jungleland" also features some of the most impressive guitar work on the entire Born to Run album.

Youngstown (Live in New York)



Yes - live versions count, and this one brings the unbridled energy of a Bruce Springsteen live performance tenfold.  The song closes with a Nils Lofgren solo so raw, reckless, and unchained you can almost hear Madison Square Garden shaking on its foundations.

Springsteen Lyric Of The Week- Jungleland

"And in the quick of the night they reach for their moment, and try to make an honest stand.  But they wind up wounded, not even dead.  Tonight in Jungleland"- "Jungleland", Born To Run


"Jungleland" is different from every other song on Born To Run.  Not just because of its length, or Clarence's amazing solo, but because of the way it ends.  Born To Run tells the story of rebellion, youth energy, and above all else freedom.  From the invitation to come along for the ride in "Thunder Road," the realization of freedom in the titular song, and then finally the struggle to keep that freedom and spirit in "Jungleland."  It's a story of being on our own.  Being away from your parents, school, and work and instead embracing friendship, love, and life. It's the war we face between doing what want and doing what we have to.  


And of course, youthful energy triumphs, right?  Nope, they lost the battle.  But hey at least they gave it their all, and will be immortalized for dying in glorious battle, right?  Wrong again. "They wound up wounded, not even dead."  And that's what makes this song different from the rest of the album.  In the end, they lost. And had to face their defeat, as opposed to if they had died in battle.

Listen to the whole album.  Every other song is about experiencing what we want and it contradicting our obligations of what we have to do.  But in the end, the free spirit and desire triumph.  Except in "Jungleland."

Bruce would go on to later explore this theme of Freedom vs Responsibility much more in his next album, the incredible, Darkness On The Edge Of Town.  I think it's very fitting that "Jungleland" ends Born to Run and sets the tone for Darkness.

Bruce and the City

On a mild November day, I took a break from a run through Central Park to lie on my back and take in the sights of the city. “Jungleland” came on my iPod and I thought to myself, "Ah, what a perfect New York City song."

But after a moment I realized it really wasn't about the urban jungle at all. It’s really about what’s happening just outside New York. Aside from the opening salvo - "The rangers had a homecoming / in Harlem late last night" - there isn't anything in the lyrics that distinctly grounds the story in New York (And Bruce isn’t even talking about the hockey team). While the lyrics are not distinctly New York City, the saxophone solo still screams inner city New York to me.

It got me thinking about how few Bruce songs are distinctly about New York. Even on an album like The Rising, where the majority of the songs are written in the key of 9/11, the lyrics all come from a national or at least suburban vantage point. The most explicit song, “Empty Sky,” feels very much written from the perspective of a neighboring suburb.

I posed the thought to fellow Legends of Springsteen contributor OB, who pointed me in the direction of “New York City Serenade” and “Incident on 57th Street”. The next day I listened to The Wild, the Innocent and the E Street Shuffle in its entirety. From an album standpoint, it has a more distinctly New York City vibe than any of his others (it’s also his grooviest). OB also suggested “10th Avenue Freeze Out.” But really, other than the big man joining the band, who knows what the Hell is going on in that song, let alone where it's happening.

But how much do the lyrics matter in the end? They're only half the story, right? For me, “Jungleland” will always be a New York City song. Dear readers, are there other Bruce songs that will always feel like they’re about New York City to you, even if their lyrics are telling you otherwise?

Springsteen Lyrics of the Week - Wrecking Ball

Now my home's here in the Meadowlands
Where mosquitoes grow big as airplanes
Here where the blood is spilled
The arena's filled
and GIANTS play their games
-- "Wrecking Ball", Live at Giants Stadium

As you could tell in our Super Bowl post, we here at Legends were rooting for the Giants.  Not only did we all pick the Giants to win, but I even nailed the final score!  In a fantastic game, the Giants made all of New Jersey proud.  I'll always love the fact that a group of rich athletes can unit people from a specific geographic area (that the players themselves are just loosely affiliated with) in a moment of pure exhilaration.  So here's to you - Eli, Osi, Tuck, Mario, JPP, Nicks, Cruuuuuuuuuuuuz, and the rest - on your great victory in Super Bowl XLVI.

(On a side note, the song "Wrecking Ball" debuted at the end of 2009, when they were closing Giants Stadium.  When I first heard that Bruce had written a special song to commemorate the occasion, I was secretly hoping that he would just sing "Jungleland", but replace the word "Jungleland" with "Meadowlands".  While "Wrecking Ball" is a great song, I sort of wish I got to hear that imaginary "Jungleland" revamp.  Ah well.  I still have "Tim Tebow's Fire".)