Bruce Springsteen- “My Lucky Day”
For the first time in a long time, Bruce Springsteen is a happy man. After eight years under the Bush Administration, President Obama has given him hope. The United States of America is going through some major changes. We have elected our first African American president, the economy is in shambles, and we are still mired in Middle Eastern conflict. Working on a Dream, the follow-up to 2007′s Magic, is meant to be a soundtrack for these changing times. Things will be hard, but the American Dream has returned.
Springsteen’s intentions are noble, but there is a problem. Springsteen is at his best when he is angry and disillusioned. His righteous indignation on songs like “Badlands,” “Born in the USA,” and “Johnny 99″ cause the listener to think and evaluate their position on important issues. Even if you disagreed with him, it was never boring. Working on a Dream is a mirror image of Magic. Magic was an angry record tempered by songs like “Girls in Their Summer Clothes.” Working on a Dream is a record of unbridled optimism without a bit of cynicism. It feels unbalanced.
Working on a Dream begins with “Outlaw Pete,” an eight minute epic about a mythic outlaw. It’s a good song, but when you consider that Springsteen has had some of the most bracing opening tracks in rock history, it falls flat. The average fan won’t have the patience for it. Springsteen does epics well, but “Outlaw Pete” should have been placed in the middle or towards the end.
“My Lucky Day,” the album’s current single is the epitome of the E-Street formula. Its mid-tempo, everybody plays along. Bruce sings in a tone that’s passionate but not abrasive, and Clarence Clemons comes in at exactly the right moment to deliver a sax solo. That is the fundamental problem with Working on a Dream, it looks, sounds and feels like the E-Street Band, but the fire isn’t there this time around. Working on a Dream isn’t a bad record at all, it’s just very middling.
There are some decent moments. “Surprise, Surprise” sounds like it came from The British Invasion, complete with jangling guitars. “Queen of the Supermarket” is a sweet love song, like a more mature version of The Replacements’ “Customer.” “Tomorrow Never Knows” is a simple slice of folk country, with a lovely shuffling drum beat from Max Weinberg.
Working on a Dream contains one stunning moment, “The Wrestler,” Springsteen’s contribution to the film of the same name. With an understated acoustic guitar and a stark piano, Springsteen captures the essence of Mickey Rourke’s performance in less than four minutes. It shows that Springsteen is still capable of remarkable songcraft.
Rolling Stone gave Working on a Dream five stars, giving it instant classic status. Is it because the album is deserving of such merit, or is it because Bruce Springsteen has become a sacred cow? Born to Run was an instant classic, but Working on a Dream is merely a Springsteen album. Perhaps the songs will grow better with age, perhaps they will translate better in a live setting. Listening to it right now, I am indifferent.