Bruce Springsteen
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Yep. It's the only song on the Born In The USA album that I always skip.
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It holds a special place in my heart.
It was the song that got me into him after always hearing it on Gold. I have performed it twice at end of work functions (terribly, but to laughter and applause).
It's definitely not his best song, but it's a great track that will always be special to me.
What are your guys take on the others in this pack?
- Jan 7, 2018
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I love that 80's drum sound
No Dancing Dark, no video and Bruce is probably not a Billionaire 40 years later. It was the commercial hit that opened the world to him.
It’s kind of that song as said above that the lyrics don’t match the upbeat tempo of the music in the same vein as Better Days.
It’s kind of that song as said above that the lyrics don’t match the upbeat tempo of the music in the same vein as Better Days.
ExileOnArdenStreet
Serenity Now...Insanity Later
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And Hungry Heart
ExileOnArdenStreet
Serenity Now...Insanity Later
- Jan 21, 2021
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I've been listening to the Paramount Theatre show from the Darkness box set for the last few days, it's just awesome
ExileOnArdenStreet
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Streets of Fire on this is ****ing mental.
Flying through these Cruyffie - trying to catch up!
We rode her into the foothills, Bobby brought the gasoline
We stood ’round her in a circle as she lit up the ravine
The spring high desert wind rushed down on us all the way back home
The harmonica break right when you expect the fourth line, good god that is an incredible subversion of your expectation within the flow of the song, and it work every damn time.
Bit of a surprise to see this so low. This to me is as good a song about his relationship with his father as he ever wrote. Whist I love the anger implicit in something like Adam Raised A Cain, this really captures the melancholy of their relationship. The son acknowledges his role in the relationship, even though he admits he can't do anything to change it.
I like this song, but it is so out of place opening that album, it really doesn't fit with the sound of that album. It is almost like Jon sent him off to write another Dancing in the Dark - but this time asking for a quintessential Springsteen anthem. It is a fine result, but feels a little forced to me.
This song means so much to me. Although I was familiar with it from the Joad tour (it was on the famous bootleg from the Sydney show that was one of the first I ever owned), it really clicked with me in early 2007 leading up to my first son being born. I was driving around for weeks listening to nothing by 2005 tour recordings, and Long Time Comin' was on every show. I would get more emotional every time I heard it as my son's birth was approaching. My own father died 10 days before my first son was born. Still a blubbering mess every time he get to the closing punch line. I didn't **** it up too bad.
Can't take this one at all. Only the Strong Survive was a massive misstep for me. Bruce doing karaoke. This would have worked so much better if he put together a real band and worked the songs to create something that was his own. I guess Covid prevented that, but it doesn't mean he had to release it. Hopefully vol 2 stays in the volt.
The biggest "what might have been" of the 92 albums. Up there with his best writing, and a highlight both of the Christic shows and 2005 tour, but man does it not work on the album.
This one is top 10 for me. My favourite song of his post 2000 output. Great on the album, even better on those 2007 shows. Shame it faded in 2008 then disappeared altogether. Another one that gets me every time, especially:
We rode her into the foothills, Bobby brought the gasoline
We stood ’round her in a circle as she lit up the ravine
The spring high desert wind rushed down on us all the way back home
The harmonica break right when you expect the fourth line, good god that is an incredible subversion of your expectation within the flow of the song, and it work every damn time.
Great call. I got a DVD rip on my phone shortly after it came out, for years I reckon I listened to this version many more times than the original album.
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As I said, it's just favourites, it'd be higher based on the actual quality of the song. But it is very good.
It's just a solid stadium rock song, good to belt out and a good pump up for me!
I was lucky enough to go to Broadway, hearing him talk about his father in the lead up was so freaking powerful.
Sorry to hear about your dad, my dad also isn't around (died 5 years ago this year), and wasn't around to meet my daughter (who is now two and a half).
I actually think this and LWH are the two best songs he has written this century.
It's a beauty. That clip especially. The vocal is so ****ing smooth.
Imagine if it was released like this!
I AM SO GLAD THAT SOMEONE ELSE APPRECIATES THIS SONG. The power it generates is ferocious. It's ****ing exceptional. A great song to blast.
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True and I also think 'Streets of Philadelphia' and 'Secret Garden' elevated him even more globally.
Remember MMM playing the death out of the both of those songs.
ExileOnArdenStreet
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Yeah I did the same, the original version of Darkness sounds tame in comparison to this.
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Gasometer Gough Planet14 revo333
39) Roll Of The Dice (Human Touch)
I’m a thief in the house of love and I can’t be trusted
Roll Of The Dice has to be one of the most enjoyable songs Bruce has written. It’s full of life, fun and enthusiasm just to name a few things.
The piano riff is so uplifting and it feels like there is a party ready to break out at any given moment. When the band join, the place erupts and everything springs to life effortlessly. The horns add a whole other dimension to a song already layered with plenty of different instruments. It reminds of Mary’s Place in the way everything just seems to come together without any effort whatsoever.
The song is riddled with gambling metaphors which tie in perfectly to the song’s title. I kind of get the impression that gambling is the awkward third party in this relationship, he loves this woman, but the thrill of winning is too hard to turn away. He may have lost, but he can get it back, he seems to think, on the next play.
The bridge alludes to the errors he knows he has made, but he can’t get enough.
The standout line comes in the last verse, which really sums up his character.
I’m a thief in the house of love
And I can’t be trusted
Gambling will always be number one for the guy here. Regardless of who he meets.
The vocal trade off at the end between Bruce and Steve is nothing short of brilliant.
This song will always guarantee a smile on your face.
Plenty to like about this clip. The intro, the tambourine, the champagne, the dancing, the false ending. Brilliant. Enthusiasm personified right here.
38) Tenth Avenue Freeze Out (Born To Run)
Well they made that change uptown and The Big Man joined the band
Tenth Avenue Freeze announces itself with joy. The horns and piano are brilliant, the vocal is raw and sounds so innocent and jubilant. If you’re going to have a party, this is the blueprint the playlist should follow.
I can just imagine this being recorded with a huge smile on his face as it was being sung.
The song transformed itself on Broadway and I have an even deeper appreciation for it than I previously did. I think the versions on just the piano surpass the full band counterparts in some aspects. There is a rawness and tenderness to it with just the piano.
There is a key line in Tenth which can serve as a good life motto
“I'm gonna sit back right easy and laugh”
Sometimes, that’s all you need to do.
Piano acoustic. Do yourselves a favour. You won’t regret it. The vocal is flawless.
37) Secret Garden (Greatest Hits)
She’ll lead you down the path, there’ll be tenderness in the air
Secret Garden doesn’t aim to knock you out. It sits you down, gets you comfortable and it puts its arm around you and makes you feel at ease.
It is flawlessly beautiful in so many ways. The synth, the brushes on the drums, the acoustic guitar, the piano, the calming vocal. It’s utterly perfect in every sense of the word.
And the fact the sax solo was completely played ad-lib adds to this song’s charm even more. The bass paired with it full and warming. A perfect combination.
I heard it by chance on a show called Cold Case nearly 20 years ago and fell instantly in love with it – and an obsession, which few songs have managed to hold over me, took control. I played it on repeat, over and over, day after day, for months.
I guess the moral of the story in this track is, no matter how much someone loves you, or you them, there will always be a place, deep, deep inside that you’ll never get in, or they’ll never get in and it will stay a million miles away. That’s the Secret Garden.
Secret Garden, for me is the best ballad he’s written.
36) Two Hearts (The River)
Two hearts are better than one
I ADORE Two Hearts. I absolutely adore it. It fills me with such happiness whenever I listen to it, and it’s so easy to get whisked away in its joy.
The simplicity behind Two Hearts makes it outstandingly brilliant. Its message is so clear and succinct, it’s impossible not to get it.
Two Hearts fills with the world with energy, fun and enthusiasm immediately from its opening bars. That surging piano from the beginning really urges the song on and I can’t help but be swept away in the driving sound of it. The organ working quietly in the background is another great addition to this track.
This song contains one of the best simplistic lines he’s ever written ‘I believe in the end two hearts are better than one’. It’s a beautiful sentiment, and for those that have a significant other, or anyone that they’re exceptionally close with, it is undoubtedly true.
The duel vocal between Bruce and Stevie is a great touch and does well to reemphasize the lyrics.
Two Hearts gonna get the job done.
35) Human Touch (Human Touch)
We’re all riders on this train
What is not to love about Human Touch? The chemistry with Patti is absolutely off the charts, the solos are great, the vocal pairing on the bridge is fantastic – as is the vocal performance – the conviction Bruce gives it, especially in the bridge really is fantastic.
The synth and keys in Human Touch are subtle enough to miss, but if you listen for them, they’re a great addition to the song, even if they’re tucked away.
When the song goes up a few notches around the two minute mark, you can hear the force that’s being created. The vocal is more urgent, the harmonising is from the top shelf, and that solo is full of attitude and swagger.
Things drop off - but only temporarily. The last few minutes of Human Touch you can hear everything go up a gear. The vocal performance is tremendous as he shouts the lyrics in an unnerving display of belief.
The solo at the end is a dominant showing, and with the band in full swing prior, it’s so easy to be swept away with the E-Street Band in all their glory.
The train metaphor is great too, and I thinks speaks a lot for where his mind was at the time of writing.
And Patti’s vocal is sublime.
But I think my favourite thing is the breakdown where everything seems to simmer and then EVERYTHING comes crashing back in.
Max going for broke at the end is the icing on the cake. Superb!
39) Roll Of The Dice (Human Touch)
I’m a thief in the house of love and I can’t be trusted
Roll Of The Dice has to be one of the most enjoyable songs Bruce has written. It’s full of life, fun and enthusiasm just to name a few things.
The piano riff is so uplifting and it feels like there is a party ready to break out at any given moment. When the band join, the place erupts and everything springs to life effortlessly. The horns add a whole other dimension to a song already layered with plenty of different instruments. It reminds of Mary’s Place in the way everything just seems to come together without any effort whatsoever.
The song is riddled with gambling metaphors which tie in perfectly to the song’s title. I kind of get the impression that gambling is the awkward third party in this relationship, he loves this woman, but the thrill of winning is too hard to turn away. He may have lost, but he can get it back, he seems to think, on the next play.
The bridge alludes to the errors he knows he has made, but he can’t get enough.
The standout line comes in the last verse, which really sums up his character.
I’m a thief in the house of love
And I can’t be trusted
Gambling will always be number one for the guy here. Regardless of who he meets.
The vocal trade off at the end between Bruce and Steve is nothing short of brilliant.
This song will always guarantee a smile on your face.
Plenty to like about this clip. The intro, the tambourine, the champagne, the dancing, the false ending. Brilliant. Enthusiasm personified right here.
38) Tenth Avenue Freeze Out (Born To Run)
Well they made that change uptown and The Big Man joined the band
Tenth Avenue Freeze announces itself with joy. The horns and piano are brilliant, the vocal is raw and sounds so innocent and jubilant. If you’re going to have a party, this is the blueprint the playlist should follow.
I can just imagine this being recorded with a huge smile on his face as it was being sung.
The song transformed itself on Broadway and I have an even deeper appreciation for it than I previously did. I think the versions on just the piano surpass the full band counterparts in some aspects. There is a rawness and tenderness to it with just the piano.
There is a key line in Tenth which can serve as a good life motto
“I'm gonna sit back right easy and laugh”
Sometimes, that’s all you need to do.
Piano acoustic. Do yourselves a favour. You won’t regret it. The vocal is flawless.
37) Secret Garden (Greatest Hits)
She’ll lead you down the path, there’ll be tenderness in the air
Secret Garden doesn’t aim to knock you out. It sits you down, gets you comfortable and it puts its arm around you and makes you feel at ease.
It is flawlessly beautiful in so many ways. The synth, the brushes on the drums, the acoustic guitar, the piano, the calming vocal. It’s utterly perfect in every sense of the word.
And the fact the sax solo was completely played ad-lib adds to this song’s charm even more. The bass paired with it full and warming. A perfect combination.
I heard it by chance on a show called Cold Case nearly 20 years ago and fell instantly in love with it – and an obsession, which few songs have managed to hold over me, took control. I played it on repeat, over and over, day after day, for months.
I guess the moral of the story in this track is, no matter how much someone loves you, or you them, there will always be a place, deep, deep inside that you’ll never get in, or they’ll never get in and it will stay a million miles away. That’s the Secret Garden.
Secret Garden, for me is the best ballad he’s written.
36) Two Hearts (The River)
Two hearts are better than one
I ADORE Two Hearts. I absolutely adore it. It fills me with such happiness whenever I listen to it, and it’s so easy to get whisked away in its joy.
The simplicity behind Two Hearts makes it outstandingly brilliant. Its message is so clear and succinct, it’s impossible not to get it.
Two Hearts fills with the world with energy, fun and enthusiasm immediately from its opening bars. That surging piano from the beginning really urges the song on and I can’t help but be swept away in the driving sound of it. The organ working quietly in the background is another great addition to this track.
This song contains one of the best simplistic lines he’s ever written ‘I believe in the end two hearts are better than one’. It’s a beautiful sentiment, and for those that have a significant other, or anyone that they’re exceptionally close with, it is undoubtedly true.
The duel vocal between Bruce and Stevie is a great touch and does well to reemphasize the lyrics.
Two Hearts gonna get the job done.
35) Human Touch (Human Touch)
We’re all riders on this train
What is not to love about Human Touch? The chemistry with Patti is absolutely off the charts, the solos are great, the vocal pairing on the bridge is fantastic – as is the vocal performance – the conviction Bruce gives it, especially in the bridge really is fantastic.
The synth and keys in Human Touch are subtle enough to miss, but if you listen for them, they’re a great addition to the song, even if they’re tucked away.
When the song goes up a few notches around the two minute mark, you can hear the force that’s being created. The vocal is more urgent, the harmonising is from the top shelf, and that solo is full of attitude and swagger.
Things drop off - but only temporarily. The last few minutes of Human Touch you can hear everything go up a gear. The vocal performance is tremendous as he shouts the lyrics in an unnerving display of belief.
The solo at the end is a dominant showing, and with the band in full swing prior, it’s so easy to be swept away with the E-Street Band in all their glory.
The train metaphor is great too, and I thinks speaks a lot for where his mind was at the time of writing.
And Patti’s vocal is sublime.
But I think my favourite thing is the breakdown where everything seems to simmer and then EVERYTHING comes crashing back in.
Max going for broke at the end is the icing on the cake. Superb!
Last edited:
Hoos
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- Mar 9, 2007
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ExileOnArdenStreet Gasometer Gough Hoos Planet14
34) Seaside Bar Song (Tracks)
Radio man finally understands playin’ something you can move to
Seaside Bar Song is one big party. It screams summer time, fun, parties and holidays. The drum and keys pairing with the guitar rumbling away at the beginning is a great kickstart and this song makes you want to enjoy life. And how can we forget the horns! If you could turn summer fun into a song, this would be a great place to start.
The lyrics come thick and fast – much like many songs did in the Greetings era – and there are so many wonderful one off lines that sit so well amongst everything.
Girls on the corner like a diamond they shine
I'm gonna live a life of love and tonight you're the one
The highway is alive tonight so baby do not be frightened
The radio man finally understands and plays you something you can move to
Your girl leans over and says, "Daddy, can you turn that radio up any louder?"
I mean, the imagery there is great too, but to construct a song and get some of those lines in there is remarkable.
I can’t get enough of the keys here. Simply brilliant. And the grunt of the guitar is fabulous.
The dancers in this clip are great. Worth the watch. It’s bloody terrific.
33) Take Em As They Come (Tracks)
I know your heart is breakin’, I can feel it too girl
If Take Em As They Come wouldn’t have felt right at home on The River, then I am not sure what would have.
The upbeat melody hides the song’s sadder story, much like Dancing In The Dark.
The guitar and piano share the lead on this track as it takes us on the circa four minute journey.
Both Steve and Patti’s backing vocals are excellent. The underlying bass is a solid foundation, as is the piano.
One of the best hidden gems in his catalogue for me. And another song that should have been on The River which would have made it infinitely better.
Good story leading into this:
32) Long Walk Home (Magic)
It just wraps its arms around you, nobody crowds you, nobody goes it alone
Long Walk Home may possibly be the best thing Bruce Springsteen has written in the 21st Century. It is that good. I think in terms of his “best” tracks – obviously a very subjective thing – Long Walk Home would not look out of place in his best 20.
The opening bars of the song give off a sense that what is to come seems bright, but things quickly change. The lyrics tell the story of a man who comes home but recognises nothing in his sight. Everything feels foreign, and people are like “rank strangers.”
There is grit and determination in Long Walk Home that is admirable. Each snap of the snare reiterating as much.
Both sax solos are great in their own right, and the closing solo has a feeling of nostalgia about it and a sense of longing.
Bruce has said himself the last verse is one of the best verses he’s written about the state of the US.
I’ve always sort of seen this as a cousin to My Hometown.
31) Meeting Across The River (Born To Run)
Change your shirt, cause tonight we got style
Some may point to Meeting Across The River as the weakest song on Born To Run. Boo to them I say. Why does an album need to have a weak song? Aside from the fact it’s a strong album from cover to cover, Meeting serves its purpose exceptionally well.
While Jungleland may be its tougher, cooler, more handsome bigger brother, Meeting is the perfect precursor for what happens in Jungleland.
It is another incredibly haunting song that is very part film noir and part jazz. The imagery is sublime and the quest to generate tension is brilliant.
From the outset, Meeting has you cautiously inquisitively on edge. Danger is around the corner, you can hear it, and you can feel it. It’s almost like it’s stalking you, waiting to pounce. The trumpet is magical in its delivery and points you in the direction and the piano helps lead the way.
Meeting tells the story of a pair of guys who have themselves in trouble with the mob. They need to get to New York City to pay up on a debt.
Our main character, whose name we never find out, and Eddie, have to pay or they’re dead. Eddie is warned to keep it cool, put something in his pocket that resembles a gun, and dress to be someone they’re not, to impress.
The lyrics are elite and are another notch in the belt to show how great a songwriter he had become.
The use of trumpet here has been executed to perfection. It tailing off towards the end sets the scene for what is to follow….
30) Tunnel of Love (Tunnel of Love)
Then the lights go out and it’s just the three of us
Tunnel of Love demonstrates what an excellent songwriter Bruce is. Because of the music, the song’s title sounds like a ride at a theme park, but the clever use of everything has turned it into an excellent double entendre showcasing the excellent grasp he has on the English language.
The carnival sound it creates at beginning is both unique and intriguing. I think Bruce has nailed the sound perfectly, and in the studio version in particular, it really sticks out. It's completely un-Springsteen altogether, but I can't imagine the song sounding any better if it was done another way.
Where to begin? Some rare work on the drum machine, Bruce smashing it out of the park on the acoustic guitar, the keys are great and really create the melody - to perfection. But the best thing about Tunnel of Love for me are its lyrics combined with its masterful imagery. They represent the phases of a marriage if you look at them carefully.
If we look at verse one, there are wonderful metaphors interwoven throughout. The 'fat man' and his tickets, while they may be entirely metaphorical, they could be interpreted as a good luck to a new couple starting their life together, which neatly ties in to the Tunnel of Love phrase. It is also worth noting, that the fat man, and the tickets also work perfectly with the carnival sounds that accompany the songs intro. And even if they weren't metaphorical, the imagery is so clear, you can virtually see the scene playing out right in front of you. It’s the beginning of a marriage.
Verse two, the marriage is in its honeymoon phase. The couple are enjoying intimacy, and this verse highlights some excellent lyrics - "Then the lights go out and it's just the three of us, You me and all that stuff we're so scared of". It's brilliant, creative writing. The fact he has been able to use a feeling as a third person in the relationship is outstanding in so many ways. It also demonstrates they’re in it together.
The vocal throughout is tight with an air of intensity about it, but it's not overdone. The bridge has his voice full of confusion, angst and uncertainty - which are reflected in the lyrics. The line about tbe 5D mirror is a nod again to tie in with the theme park setting, but also cleverly alludes that you need to laugh, at each other, and with each other. Because, if you take things too seriously, you can “lose each other in this tunnel of love” The room of shadows can get you with ease, and it can harm the relationship. The music – particularly toward the end of the bridge (in the studio cut more so) – also gets more climatic here too, you can really feel it tighten and flex its tension.
Nils solo hits all of the right spots, and Bruce's harmonising vocal with Patti is a great touch.
The final verse though is where it really sums up marriage. It's painted to be so black and white with the first two lines, “It ought to be easy ought to be simple enough, Man meets woman and they fall in love” but as always, Bruce adds that splash of colour so effortlessly to show that life, and marriage isn't straightforward. You need to work together, you need to face your challenges together, if you want the marriage to survive, and that you need to accept each others flaws and imperfections. There are things you can’t control and other things that you’re powerless to stop. And life is going to hurl things at you that you aren't going to like, and have trouble dealing with, but it's how you deal with those perversities if you want to come out the other side of the Tunnel Of Love together.
And Nils’ solos are the stuff of mastery.
I honestly cannot find any fault in this track. It's outstanding.
34) Seaside Bar Song (Tracks)
Radio man finally understands playin’ something you can move to
Seaside Bar Song is one big party. It screams summer time, fun, parties and holidays. The drum and keys pairing with the guitar rumbling away at the beginning is a great kickstart and this song makes you want to enjoy life. And how can we forget the horns! If you could turn summer fun into a song, this would be a great place to start.
The lyrics come thick and fast – much like many songs did in the Greetings era – and there are so many wonderful one off lines that sit so well amongst everything.
Girls on the corner like a diamond they shine
I'm gonna live a life of love and tonight you're the one
The highway is alive tonight so baby do not be frightened
The radio man finally understands and plays you something you can move to
Your girl leans over and says, "Daddy, can you turn that radio up any louder?"
I mean, the imagery there is great too, but to construct a song and get some of those lines in there is remarkable.
I can’t get enough of the keys here. Simply brilliant. And the grunt of the guitar is fabulous.
The dancers in this clip are great. Worth the watch. It’s bloody terrific.
33) Take Em As They Come (Tracks)
I know your heart is breakin’, I can feel it too girl
If Take Em As They Come wouldn’t have felt right at home on The River, then I am not sure what would have.
The upbeat melody hides the song’s sadder story, much like Dancing In The Dark.
The guitar and piano share the lead on this track as it takes us on the circa four minute journey.
Both Steve and Patti’s backing vocals are excellent. The underlying bass is a solid foundation, as is the piano.
One of the best hidden gems in his catalogue for me. And another song that should have been on The River which would have made it infinitely better.
Good story leading into this:
32) Long Walk Home (Magic)
It just wraps its arms around you, nobody crowds you, nobody goes it alone
Long Walk Home may possibly be the best thing Bruce Springsteen has written in the 21st Century. It is that good. I think in terms of his “best” tracks – obviously a very subjective thing – Long Walk Home would not look out of place in his best 20.
The opening bars of the song give off a sense that what is to come seems bright, but things quickly change. The lyrics tell the story of a man who comes home but recognises nothing in his sight. Everything feels foreign, and people are like “rank strangers.”
There is grit and determination in Long Walk Home that is admirable. Each snap of the snare reiterating as much.
Both sax solos are great in their own right, and the closing solo has a feeling of nostalgia about it and a sense of longing.
Bruce has said himself the last verse is one of the best verses he’s written about the state of the US.
I’ve always sort of seen this as a cousin to My Hometown.
31) Meeting Across The River (Born To Run)
Change your shirt, cause tonight we got style
Some may point to Meeting Across The River as the weakest song on Born To Run. Boo to them I say. Why does an album need to have a weak song? Aside from the fact it’s a strong album from cover to cover, Meeting serves its purpose exceptionally well.
While Jungleland may be its tougher, cooler, more handsome bigger brother, Meeting is the perfect precursor for what happens in Jungleland.
It is another incredibly haunting song that is very part film noir and part jazz. The imagery is sublime and the quest to generate tension is brilliant.
From the outset, Meeting has you cautiously inquisitively on edge. Danger is around the corner, you can hear it, and you can feel it. It’s almost like it’s stalking you, waiting to pounce. The trumpet is magical in its delivery and points you in the direction and the piano helps lead the way.
Meeting tells the story of a pair of guys who have themselves in trouble with the mob. They need to get to New York City to pay up on a debt.
Our main character, whose name we never find out, and Eddie, have to pay or they’re dead. Eddie is warned to keep it cool, put something in his pocket that resembles a gun, and dress to be someone they’re not, to impress.
The lyrics are elite and are another notch in the belt to show how great a songwriter he had become.
The use of trumpet here has been executed to perfection. It tailing off towards the end sets the scene for what is to follow….
30) Tunnel of Love (Tunnel of Love)
Then the lights go out and it’s just the three of us
Tunnel of Love demonstrates what an excellent songwriter Bruce is. Because of the music, the song’s title sounds like a ride at a theme park, but the clever use of everything has turned it into an excellent double entendre showcasing the excellent grasp he has on the English language.
The carnival sound it creates at beginning is both unique and intriguing. I think Bruce has nailed the sound perfectly, and in the studio version in particular, it really sticks out. It's completely un-Springsteen altogether, but I can't imagine the song sounding any better if it was done another way.
Where to begin? Some rare work on the drum machine, Bruce smashing it out of the park on the acoustic guitar, the keys are great and really create the melody - to perfection. But the best thing about Tunnel of Love for me are its lyrics combined with its masterful imagery. They represent the phases of a marriage if you look at them carefully.
If we look at verse one, there are wonderful metaphors interwoven throughout. The 'fat man' and his tickets, while they may be entirely metaphorical, they could be interpreted as a good luck to a new couple starting their life together, which neatly ties in to the Tunnel of Love phrase. It is also worth noting, that the fat man, and the tickets also work perfectly with the carnival sounds that accompany the songs intro. And even if they weren't metaphorical, the imagery is so clear, you can virtually see the scene playing out right in front of you. It’s the beginning of a marriage.
Verse two, the marriage is in its honeymoon phase. The couple are enjoying intimacy, and this verse highlights some excellent lyrics - "Then the lights go out and it's just the three of us, You me and all that stuff we're so scared of". It's brilliant, creative writing. The fact he has been able to use a feeling as a third person in the relationship is outstanding in so many ways. It also demonstrates they’re in it together.
The vocal throughout is tight with an air of intensity about it, but it's not overdone. The bridge has his voice full of confusion, angst and uncertainty - which are reflected in the lyrics. The line about tbe 5D mirror is a nod again to tie in with the theme park setting, but also cleverly alludes that you need to laugh, at each other, and with each other. Because, if you take things too seriously, you can “lose each other in this tunnel of love” The room of shadows can get you with ease, and it can harm the relationship. The music – particularly toward the end of the bridge (in the studio cut more so) – also gets more climatic here too, you can really feel it tighten and flex its tension.
Nils solo hits all of the right spots, and Bruce's harmonising vocal with Patti is a great touch.
The final verse though is where it really sums up marriage. It's painted to be so black and white with the first two lines, “It ought to be easy ought to be simple enough, Man meets woman and they fall in love” but as always, Bruce adds that splash of colour so effortlessly to show that life, and marriage isn't straightforward. You need to work together, you need to face your challenges together, if you want the marriage to survive, and that you need to accept each others flaws and imperfections. There are things you can’t control and other things that you’re powerless to stop. And life is going to hurl things at you that you aren't going to like, and have trouble dealing with, but it's how you deal with those perversities if you want to come out the other side of the Tunnel Of Love together.
And Nils’ solos are the stuff of mastery.
I honestly cannot find any fault in this track. It's outstanding.
ExileOnArdenStreet
Serenity Now...Insanity Later
- Jan 21, 2021
- 59
- 118
- AFL Club
- North Melbourne
- Thread starter
- #8,820
Thanks mate!I love all of those tracks
Great work keep them coming
What's your pick of the bunch?
ExileOnArdenStreet
Serenity Now...Insanity Later
- Jan 21, 2021
- 59
- 118
- AFL Club
- North Melbourne
You're welcome
That's tough, probably Tunnel. He was at the peak of his songwriting around then. Just a superb track.
- Thread starter
- #8,823
Some heavy hitters have come out to play
Planet14 ExileOnArdenStreet Gough Gasometer Hoos revo333
29) It’s Hard To Be A Saint In City (Greetings From Asbury Park)
I could walk like Brando right into the sun, then dance just like a casanova
It’s Hard To Be A Saint In The City lays claim to the coolest opening line in Bruce’s songbook:
I had skin like leather and the diamond hard look of a cobra
Saint uppercuts you with its powerful opening. The chords just scream power and you can feel the force of them translate through the guitar.
The assault on the high hats and Roy hurriedly playing the piano is an awesome start and almost duel like against the high hats.
It’s Hard To Be A Saint In The City is full of adrenaline and it’s hard not be absorbed by it all.
The lyrics come hurtling out at you at almost breakneck speed. They’re thick and fast and sometimes it can be hard to keep up. The fire and aggression in Bruce's voice is fantastic and you can hear he is really going for it. It's dirty and rough and it suits the mood of the song perfectly.
There are so many great one liners in there that it would be a disservice to highlight some over others. Though, this line is my absolute favourite:
The devil appeared like Jesus through the steam in the street
Bruce absolutely has Steve on toast in that final guitar duel too. Epic to watch.
Roy’s playing throughout is a treat, it’s deep in the mix at points, and sometimes even buried, but if you listen hard enough you can hear him doing his thing masterfully. Yet at other times it’s prominent, staring you right in the face. The organ is absolutely wonderful too.
Totally kickass.
28) She’s The One (Born To Run)
Standing in that doorway like a dream
It’s hard to imagine The E-Street Band without Roy on the piano. His playing is mesmerising at times, but in She’s The One it’s like a masterclass. Phenomenal when you listen to it. At any show, She’s The One has an intro that is instantly recognisable. It immediately makes you take notice.
She’s The One is electrifying from the very beginning. Its furiously paced piano is merciless, and the commanding drumming replicating a heartbeat are a fantastic combination which only can leave you wanting more (Max actually has a towel on his floor tom when playing the first verse to mute the sound a bit). It instantly grabs your attention and makes you take note.
After the first chorus, everything comes together and the power is turned up. The electric guitar is full of authority and you can hear it in every note letting you know it’s the boss. It’s an absolute joy to listen to, hearing it rumble through things, not giving a shit. The beat remains the same, but it becomes more thumping in the verses and has an extra layer of power and conviction behind every hit of those toms.
The sax solo is full of passion, conviction, determination and it drives the song forward even more so. Somehow, it energizes the song further. It’s brimming with energy.
She’s The One can leave you breathless by its conclusion, and it’s worth it every time.
27) Streets Of Fire (Darkness On The Edge Of Town)
I walk with angels that have no place
Streets Of Fire packs plenty of punches and does not hold back when throwing any of them. It swallows you with a tidal wave of power. Its sheer force is enough to knock you off your feet, struggling to get back up.
The organs wail with every note they push out and create a haunting vibe throughout the whole first verse. They are church like in their support, like a minister giving a sermon.
But, come the chorus the E-Street Band explodes into life. Drums are crashing, piano is bashing, and the guitar is scorching. The track is blistering hot.
The vocal has to be one of the strongest deliveries he’s ever done. It is full of anger and power, and the guitar solo blows everything away in its radius with unbelievable and unstoppable force. It’d be one of my favourite solos in his catalogue. You can hear the rage in each note, and the pain whenever he bends a note. It is savage and unforgiving the whole way through. It charges right through you and leaves you motionless after it’s done.
The wails towards the end are full of anguish and pain and leave nothing to the imagination.
The vocal is absolutely flawless and is executed with perfection. In fact, the studio take of this is outrageously good. The vocal is nothing short of spectacular – and that even feels like it’s doing it’s a disservice.
Streets Of Fire takes intensity and anger to new heights not before seen at the time of its release.
26) Darkness On The Edge Of Town (Darkness On The Edge Of Town)
I’ll be on that hill with everything I got
Darkness is full of grit, power, angst, hurt, pain, intensity and determination.
The vocal is huge in its pursuit of conviction and power. The chorus blows you away with the power behind the vocal alone, let alone what is going on musically behind its power.
This guy has lost his wife or partner it appears, but he won’t go back. If she wants to talk to him, she knows where he can be found. It’s like all care has been abandoned and if they don’t speak, he doesn’t care.
I like in the shift in perspective in the second verse, where at first it’s about trying to keep the secrets we all have, but that train of thought is soon derailed when we’re told it’s cut loose because it’s dragging them down.
Halfway through that last verse there is an enormous burst of furious determination in both the vocal and the music as he exclaims he’ll be on that hill with everything he’s got. And while earlier on in the track you can hear the intensity in the vocal, I feel this is taken up several notches here. It’s an outstanding show of conviction.
That final hold of the note in the last chorus is superb.
25) Born In The USA (Born In The USA)
What’s not to love about this? If you were to define stadium rock in a song, this is the track that would be the blueprint.
Admittedly, for a long time, Born In The USA was not a song I rushed to listen to by choice. Its commercialism (one of his most played radio songs here in Australia) turned me off it a little. I never hated the track, but I never fully appreciated it.. At some point last year, all of that changed. It came on when I was driving and I cranked it. Listening to this track driving on the highway with the windows down is something everyone must experience. Let the song’s power envelop you.
Born In The USA is an absolute powerhouse on every front that leaves nothing to your imagination. That thumping drum beat, one of the most powerful vocal performances he’s given and an absolute killer track live. It smacks you right between the eyes and makes no apologies for doing so.
The incredible omnipotence this generates at a show is second to none for me.
Hands down one of Max’s best performances. It’s tight and there is no nonsense about it at all. His fills and licks throughout are perfect and when he gets his chance in the spotlight, you’d almost need another one there he’s that good. There’s no mercy shown to that kit, and rightly so.
And those screams towards the end are primal and can shake you to your core if you allow them to.
It’s also worth noting how great the bass is in this song too. Penetrating.
It took on a whole deeper meaning too after seeing it on Broadway. The thought of “who went in my place?” is still powerful to this day and leaves shockwaves in my mind when you consider the gravity of the statement.
Planet14 ExileOnArdenStreet Gough Gasometer Hoos revo333
29) It’s Hard To Be A Saint In City (Greetings From Asbury Park)
I could walk like Brando right into the sun, then dance just like a casanova
It’s Hard To Be A Saint In The City lays claim to the coolest opening line in Bruce’s songbook:
I had skin like leather and the diamond hard look of a cobra
Saint uppercuts you with its powerful opening. The chords just scream power and you can feel the force of them translate through the guitar.
The assault on the high hats and Roy hurriedly playing the piano is an awesome start and almost duel like against the high hats.
It’s Hard To Be A Saint In The City is full of adrenaline and it’s hard not be absorbed by it all.
The lyrics come hurtling out at you at almost breakneck speed. They’re thick and fast and sometimes it can be hard to keep up. The fire and aggression in Bruce's voice is fantastic and you can hear he is really going for it. It's dirty and rough and it suits the mood of the song perfectly.
There are so many great one liners in there that it would be a disservice to highlight some over others. Though, this line is my absolute favourite:
The devil appeared like Jesus through the steam in the street
Bruce absolutely has Steve on toast in that final guitar duel too. Epic to watch.
Roy’s playing throughout is a treat, it’s deep in the mix at points, and sometimes even buried, but if you listen hard enough you can hear him doing his thing masterfully. Yet at other times it’s prominent, staring you right in the face. The organ is absolutely wonderful too.
Totally kickass.
28) She’s The One (Born To Run)
Standing in that doorway like a dream
It’s hard to imagine The E-Street Band without Roy on the piano. His playing is mesmerising at times, but in She’s The One it’s like a masterclass. Phenomenal when you listen to it. At any show, She’s The One has an intro that is instantly recognisable. It immediately makes you take notice.
She’s The One is electrifying from the very beginning. Its furiously paced piano is merciless, and the commanding drumming replicating a heartbeat are a fantastic combination which only can leave you wanting more (Max actually has a towel on his floor tom when playing the first verse to mute the sound a bit). It instantly grabs your attention and makes you take note.
After the first chorus, everything comes together and the power is turned up. The electric guitar is full of authority and you can hear it in every note letting you know it’s the boss. It’s an absolute joy to listen to, hearing it rumble through things, not giving a shit. The beat remains the same, but it becomes more thumping in the verses and has an extra layer of power and conviction behind every hit of those toms.
The sax solo is full of passion, conviction, determination and it drives the song forward even more so. Somehow, it energizes the song further. It’s brimming with energy.
She’s The One can leave you breathless by its conclusion, and it’s worth it every time.
27) Streets Of Fire (Darkness On The Edge Of Town)
I walk with angels that have no place
Streets Of Fire packs plenty of punches and does not hold back when throwing any of them. It swallows you with a tidal wave of power. Its sheer force is enough to knock you off your feet, struggling to get back up.
The organs wail with every note they push out and create a haunting vibe throughout the whole first verse. They are church like in their support, like a minister giving a sermon.
But, come the chorus the E-Street Band explodes into life. Drums are crashing, piano is bashing, and the guitar is scorching. The track is blistering hot.
The vocal has to be one of the strongest deliveries he’s ever done. It is full of anger and power, and the guitar solo blows everything away in its radius with unbelievable and unstoppable force. It’d be one of my favourite solos in his catalogue. You can hear the rage in each note, and the pain whenever he bends a note. It is savage and unforgiving the whole way through. It charges right through you and leaves you motionless after it’s done.
The wails towards the end are full of anguish and pain and leave nothing to the imagination.
The vocal is absolutely flawless and is executed with perfection. In fact, the studio take of this is outrageously good. The vocal is nothing short of spectacular – and that even feels like it’s doing it’s a disservice.
Streets Of Fire takes intensity and anger to new heights not before seen at the time of its release.
26) Darkness On The Edge Of Town (Darkness On The Edge Of Town)
I’ll be on that hill with everything I got
Darkness is full of grit, power, angst, hurt, pain, intensity and determination.
The vocal is huge in its pursuit of conviction and power. The chorus blows you away with the power behind the vocal alone, let alone what is going on musically behind its power.
This guy has lost his wife or partner it appears, but he won’t go back. If she wants to talk to him, she knows where he can be found. It’s like all care has been abandoned and if they don’t speak, he doesn’t care.
I like in the shift in perspective in the second verse, where at first it’s about trying to keep the secrets we all have, but that train of thought is soon derailed when we’re told it’s cut loose because it’s dragging them down.
Halfway through that last verse there is an enormous burst of furious determination in both the vocal and the music as he exclaims he’ll be on that hill with everything he’s got. And while earlier on in the track you can hear the intensity in the vocal, I feel this is taken up several notches here. It’s an outstanding show of conviction.
That final hold of the note in the last chorus is superb.
25) Born In The USA (Born In The USA)
What’s not to love about this? If you were to define stadium rock in a song, this is the track that would be the blueprint.
Admittedly, for a long time, Born In The USA was not a song I rushed to listen to by choice. Its commercialism (one of his most played radio songs here in Australia) turned me off it a little. I never hated the track, but I never fully appreciated it.. At some point last year, all of that changed. It came on when I was driving and I cranked it. Listening to this track driving on the highway with the windows down is something everyone must experience. Let the song’s power envelop you.
Born In The USA is an absolute powerhouse on every front that leaves nothing to your imagination. That thumping drum beat, one of the most powerful vocal performances he’s given and an absolute killer track live. It smacks you right between the eyes and makes no apologies for doing so.
The incredible omnipotence this generates at a show is second to none for me.
Hands down one of Max’s best performances. It’s tight and there is no nonsense about it at all. His fills and licks throughout are perfect and when he gets his chance in the spotlight, you’d almost need another one there he’s that good. There’s no mercy shown to that kit, and rightly so.
And those screams towards the end are primal and can shake you to your core if you allow them to.
It’s also worth noting how great the bass is in this song too. Penetrating.
It took on a whole deeper meaning too after seeing it on Broadway. The thought of “who went in my place?” is still powerful to this day and leaves shockwaves in my mind when you consider the gravity of the statement.
