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Bruce Rocks Florence in the Rain

The official Bruce Springsteen Website, BruceSpringsteen.net has two great photo galleries from the Milan and Florence shows. Florence was performed in a torrential rainstorm and a rain soaked Bruce joined his hardy fans for some Singing in the Rain! A footnote for the Milan show, it is the second longest show Bruce and the E Street Band have ever played. The longest was the New Year’s Eve Show in 1980 at the Nassau Coliseum, in Uniondale, Long Island, New York. I was at that show and I could not believe how the band just kept coming out for encore after encore! Once more some great shots from Joe Lopez! Here are the headers from the website. Enjoy!

Bruce Rocks Florence in the Rain

Following on the heels of their epic concert in Milan, Bruce & the E Street Band headed south to Florence, Italy, for another 30+ song set, closing with “Who’ll Stop the Rain” in homage to the downpour fans endured for most of the show. Check out these new photos from the evening by Jo Lopez

Photos from the marathon in Milan

You may have heard about Bruce & the E Street Band’s marathon 33-song, 3 hour and 40 minute concert on June 7 in Milan, but you haven’t seen it like this! Enjoy these new photos from that magical night in Milan which became Bruce’s second longest show of his career after only New Year’s Eve 1980 in Uniondale, NY.

http://brucespringsteen.net/

Bruce Springsteen Lithographs of The ‘Born To Run’ Tour 1975

Exclusive prints from 1974-1975

The official Springsteen Store has released three new, limited edition lithographs featuring stunning black and white photos shot by Peter Cunningham in 1974 and 1975 at The Bottom Line in New York City.  The first lithograph features Bruce on stage in 1974 when he and the E Street Band made their debut headline appearance, and the others come from a string of five shows in August 1975 which served as a prelude to the album, Born To Run, released later that month. Get yours here!

http://brucespringsteen.net/

More Bruce Springsteen at The Pinkpop Festival In the Netherlands!

Bruce Springsteen Pinkpop Festival Setlist Landgraaf, The Netherlands 5/28/12 Setlist Wrecking Ball Tour Mumford & Sons

Thanks once more to our new friend, Josh Hathaway, who is a Huntsville, AL resident.  Josh Hathaway has turned a lifelong musical obsession into a not-very-lucrative career as a freelance music writer. BlindedBySound is the best chapter in that adventure, where he serves as site publisher.  He is also helping us spread the word of all that is Bruce Springsteen and more!

The E Street Band look to rebound from calamity in Cologne with their headlining set at the Pinkpop Festival in Landgraaf, Netherlands tonight. This set being part of a festival, it comes in several songs lighter than recent stadium shows on the European leg of the tour.

It’s too much to expect a complete recovery, then, from last night’s debacle but it’s a step in the right direction. This abbreviated set actually improves on things because they didn’t play the turds; it was addition by subtraction.

Not only that but look at this stretch: “Spirit In The Night,” “Because The Night,” and “Radio Nowhere.” That’s mighty! Look at just before and just after them: “My City Of Ruins” and “I’m On Fire” (the latter being a tour premiere). It’s hard to imagine how much energy came out of the place after fiery “Because The Night” and “Radio Nowhere” down to “I’m On Fire,” but it’s one of the songs on Born In The USA that doesn’t make me cringe

This being a festival and Bruce being a man of the people, there were guest musicians who came out to hang with the band during the encore. Amazingly, you can get more people on stage with the E Street Band and the E Street sideshow! Garland Jeffreys joined them for a rendition of “96 Tears,” a cover they played when I saw them in Atlanta on the Working On A Dream tour.

The other guest tonight was Mumford and Sons, who joined the band on “Hungry Heart.” I’m actually curious what that sounded like. I wonder if they changed up the arrangement or the harmonies to include the Mumfords or if it was played straight.

In addition to “96 Tears” and “Hungry Heart,” the encore included the now familiar run of “Born In The USA,” “Born To Run,” and “Dancing In The Dark.” That asshole fan in Cologne may have done us all the greatest disservice of all by encouraging Bruce to start playing “American Land” again. There really is no justice in this world if that individual is not found and tried in The Hague for crimes against humanity.

Here is the full setlist for Bruce Springsteen & The E Street Band at the Pinkpop Festival, featuring special guests Garland Jeffreys and Mumford & Sons.

  1. We Take Care Of Our Own
  2. Wrecking Ball
  3. Badlands
  4. Death To My Hometown
  5. My City Of Ruins
  6. Spirit In the Night
  7. Because The Night
  8. Radio Nowhere
  9. I’m On Fire
  10. Shackled & Drawn
  11. Waitin’ On A Sunny Day
  12. The Promised Land
  13. The River
  14. The Rising
  15. We Are Alive
  16. Thunder Road ### ### ###
  17. 96 Tears [with Garland Jeffreys]
  18. Born In The U.S.A
  19. Born to Run
  20. Hungry Heart (w/Mumford and Sons)
  21. Dancing in the Dark
  22. American Land
  23. Tenth Avenue Freeze-out

Video: Bruce Springsteen Credits Occupy Wall Street For Inspiring Newt Gingrich

21812bruce.jpg

 BROOOOOOCE performing at the Grammy Awards (AP)

 Coming off  an invigorating performance to kickoff the Grammy Awards, Bruce BROOOOOCE Springsteen was in Paris this week to formally introduce his new album, Wrecking Ball, for a select group of reporters. Springsteen gave over much of the press conference to discussing the current state of American politics, and how his “angry patriotism” was reflected in the new music: “Previous to Occupy Wall Street, there was no push back at all saying this was outrageous—a basic theft that struck at the heart of what America was about, a complete disregard for the American sense of history and community.”

Springsteen expects some people may misunderstand the politically charged songs—a mix of folk music, gospel music and the E-Street Band sound—on the new album, just as Ronald Reagan misunderstood “Born In The USA” almost 30 years ago. That’s especially true for the rousing first single “We Take Care Of Our Own,” an ironic song that sums up the broken promises of the country as far as Springsteen sees it. “I have spent my life judging the distance between American reality and the American dream…What was done to our country was wrong and unpatriotic and un-American and nobody has been held to account,” he later told the Guardian. “There is a real patriotism underneath the best of my music but it is a critical, questioning and often angry patriotism.”

Inquirer Editorial: Springsteen Exhibit OK, But What’s Next?

Posted: Sun, Feb. 19, 2012, 3:01 AM

Prior to the exhibit

Prior to the exhibit’s opening, an empty display case at the National Constitution Center awaits Springsteen’s favorite Fender Telecaster – the one featured on the cover of the “Born to Run” album. Bruce planned on using it during the Grammys telecast, but ended up playing another guitar instead. The Fender is actually a hybrid. It has a 1954 Telecaster body with a 1952 Esquire neck. (TOM GRALISH / Staff Photographer)

True, both were born in the same country (the U.S.A.) and, in fact, within about 50 miles of Trenton. And both were born to run (in the Constitution’s case, a nation). And, of course, both continue to enjoy rock-star adulation despite advanced age and significant imperfections.

Springsteen is not the most incongruous figure the Independence Mall museum has featured. At least the Boss’ title was, in the American tradition, earned rather than inherited – unlike that of Princess Diana, the subject of another recent Constitution Center exhibit. What, after all, could be more diametrically opposed to American democracy than British royalty?

New Jersey royalty is a different story, and if the Constitution Center had to feature a popular musician, Springsteen is much more appropriate than, say, Lady Gaga (another aristocrat, judging by her sobriquet). As rock stars go, Springsteen is an avid student of American history and society. His often politically pointed lyrics might get him in trouble in a country without the First Amendment.

Short of arguing that “Cover Me” foresaw the debate about the constitutionality of a health-insurance mandate, the museum has tried valiantly to emphasize Springsteen’s relevance to its mission. An ad invites visitors to “celebrate freedom of expression at the must-see exhibition.” The gift shop sells T-shirts that read “Freedom Rocks” underneath a silhouetted rock band composed of great American statesman (drums: “Honest” Abe Lincoln).

The very American imperatives of capitalism are clearly pertinent here. Pop-cultural exhibits no doubt help the Constitution Center sell tickets. And the resulting crowds may well glance over its handwritten congressional copy of the 13th Amendment as well as Bruce’s original handwritten draft of “Atlantic City.”

But the Constitution Center is also congressionally chartered and has benefitted from no small amount of government support – all of which should be considered carefully before anyone dreams up an exhibit about, say, American Idol. For a museum devoted to serious ideas, forgetting that would be a suicide rap indeed.

Happy Birthday Bruce-Continued!

Ok, here is the finished happy birthday wish for Bruce as he looks up at the empty sky, over Galveston Bay, and he will drive all night to find the dry lightning, he has never worked in a Factory like his dad, and he will see that Frankie, won’t fade away, but that janey won’t lose your heart, bought a new car and, gave it a name, he took a leap of faith, and wants to be the last to die, leaving on a Train and heading to the Land Of Hope And Dreams, Once there, Let’s Be Friends (Skin To Skin) because Life Itself, can Lift Me Up during the Light Of Day. though he was hoping at one time that Linda, Let Me Be The One at the Lion’s Den, cause he was Livin’ In The Future, while Living On The Edge Of The World. He was Living Proof, a Local Hero even though it was one Lonesome Day. His birthday was Long Time Comin and he didnt have to worry about the Long Walk Home, with Loose Change in his pocket, while he made sure that all of his Loose Ends, weren’t Lost In The Flood. He sure is one Lucky Man from one Lucky Town. He did a little Magic, while he is the Man At The Top, doing a Man’s Job as he builds his Mansion On The Hill, which will include Maria’s Bed, along with one for Mary Lou, Mary Queen Of Arkansas and it will be called Mary’s Place, which is also located off of the Matamoros Banks. He is hoping to have Meeting Across The River, to discuss his Missing friend, who may have been dealt with by Murder Incorporated. Bruce said He woke up to My Beautiful Reward, and mentioned that My Best Was Never Good Enough when he walked through My City Of Ruins, which included My Father’s House, which is also My Hometown. He promised Patty that My Love Will Not Let You Down because she said he is My Lover Man and every day when he wakes up to My Lucky Day. Bruce decided to go Nebraska after he sang his New York City Serenade last Night, but he knew that None But The Brave, will always make sure that there would be No Surrender, because he is never a Nothing Man. he took One Step Up and the store was Open All Night. He was also Out In The Street, while he was Outlaw Pete, riding his horse Over The Rise into Paradise, which included Paradise By The “C”, He was never Part Man, Part Monkey, as he drove his Pink Cadillac, driving it Point Blank, past Pony Boy, as he had to Prove It All Night, to the Queen of the Supermarket. He went Racing In The Street listening for Radio Nowhere, he asked if he could Raise Your Hand and try his hand at being a Ramrod, a Real Man in the Real World, looking for a Reason To Believe, with his Red Headed Woman, looking to Rendezvous in Reno, where there will be a lot of Restless Nights, hoping that Ricky Wants A Man Of Her Own, for those Rockaway The Days, after a big Roll Of The Dice that will get Rosalita (Come Out Tonight) to then play some Roulette. His Sad Eyes, will be looking over towards Santa Ana while singing a Seaside Bar Song, about his Secret Garden, sowing some Seeds, as the Seven Angels let him know that She’s The One, Sherry Darling, who Shut Out The Light once he got home on his Silver Palomino, after hanging with the Sinaloa Cowboys, who are all So Young And In Love,. It sure was Something in the Night, that propelled him past the Soul Driver who is one of the Souls Of The Departed, and not one of the Spare Parts, but more like a Spirit In The Night, where he can Stand On It, if he would be stopped by his friend the State Trooper, while driving a Stolen Car, because he won’t be able to do any Straight Time, through the summers Streets Of Fire, which are in the Streets Of Philadelphia, to know one’s Surprise, Surprise, we all have to Take ‘Em As They Come, so there won’t be a Tenth Avenue Freeze-Out, singing Terry’s Song, who is now The Angel, of The Big Muddy, hoping for The Big Payback, dancing The E Street Shuffle, that has given him The Fever. Maybe that will be The Fuse, in finding The Ghost Of Tom Joad, who was The Hitter and one of The Honeymooners, heading for The Last Carnival along The Line, hoping not to be The Long Goodbye, but The New Timer. There is always The Price You Pay for The Promise, of The Promised Land, all along The Rising of The River that he hopes won’t be caught up by The Ties That Bind, but more The Wish that The Wrestler, would be able to overcome This Hard Land, which is not to be confused with This Land is Your Land, which is all part of This Life all along Thunder Road, where he has always been a Thundercrack, where Tomorrow Never Knows, of he will be Tougher Than The Rest, but not Trapped by the Trouble In Paradise, going to the other side of The Trouble River, in one of his Used Cars, through the Tunnel Of Love, which could have been a TV Movie, where Two Faces, become Two For The Road and Two Hearts on Valentine’s Day as he hopes to get to Viva Las Vegas, where the Wages Of Sin are never Waitin’ On A Sunny Day, the place where you can Walk Like A Man, not be concerned with War, because it is all about What Love Can Do, When The Lights Go Out, When You Need Me, When You’re Alone, after spending the night Where The Bands Are, where Wild Billy’s Circus Story, is there With Every Wish, Working on a Dream, while Working On The Highway, though he was Worlds Apart from that Wreck On The Highway, he had to remember that You Can Look (But You Better Not Touch), but hopefully it won’t be long before You’ll Be Comin’ Down, because in my heart You’re Missing, when your away from Youngstown, where Ai was always Your Own Worst Enemy, when it came to Zero And Blind Terry. Happy Birthday Bruce!

Max Weinberg Steals the Spotlight From Springsteen, But The Birthers are Stumped by The Boss: Songs 120-111

RETREAT, NO SURRENDER

By Jim Beviglia
May 22nd, 2010 at 10:11 AM

The Ultimate Springsteen Countdown is almost half over and there hasn’t been a Born in the U.S.A song yet. That changes in this edition (but how far down?) And does Max Weinberg or Teenage Tramps in Skintight Pants steal more of the spotlight from Bruce Springsteen.

And while Springsteen will never cut off your beer sales at a concert like Van Morrison, he was definitely influenced by the man. Learn more in songs 120-111.

Song 120: “Fade Away”

Album: The River

“Fade Away” gets a bit of a bad rap in the Springsteen mythology. It was chosen as the follow-up to Bruce’s first Top 10 hit, “Hungry Heart,” but it failed to reach those same lofty heights, petering out at No. 20 on the U.S. charts. Thus it is also blamed for the fact that The River wasn’t the breakthrough megahit that Springsteen’s supporters wanted it to be.

That’s a lot of weight to hang on one song, let alone a modest one like “Fade Away.” Granted, a tender ballad with Springsteen basically on his hands and knees trying to get back together with his girl might not have been a commercial sure thing. But that doesn’t mean the song wasn’t executed well.

Indeed, the straightforward lyrics show Bruce at his most direct, one of the first signs of a more common style that would serve him well in the years to come. And the music is lovely throughout, spearheaded by Danny Federici’s lonely organ, which expresses yearning and desperation maybe even better than the songwriter himself. When you add the soulful harmonies of Bruce and Little Steven, you’ve got a pretty solid package, top-to-bottom.

All of the negative stuff is just a case of the right song at the wrong time.

Song 119: “The E Street Shuffle”
Album: The Wild, the Innocent & the E Street Shuffle

First of all, this song wins points for yielding one of Bruce’s all-time great character names: Power 13. It sounds like some obscure Math theorem, doesn’t it? What do you call the guy for short? Pow? Teenie? Do you think his Dad was Power Sr., had 12 other sons, and just did a George Foreman thing when naming them? These are the questions that keep me up at night.

Now that we’ve got that out of the way, we can get down to the business of praising “The E Street Shuffle,” the opening salvo off The Wild, the Innocent & the E Street Shuffle, the Boss’ first true masterpiece. From the opening blast of horns, which betrayed a heavy Van Morrison influence, to the wild and woolly outro, it’s one of the band’s funkiest offerings, even 35 years down the road.

Springsteen’s fast-talking lyrics are marvels of interior rhyme and alliteration. Listen to this killer first line: “Sparks fly on E Street when the boy prophets walk it handsome and hot.” These hoodlums get into the same hijinks as some of the doomed souls of other Springsteen opuses, but the good-time music here makes it seem like there are little consequences for them to face.

Indeed, even as Bruce tells it like it is (“teenage tramps in skintight pants”), he finds the romance in the scene: “As the sweet summer nights turn into summer dreams.”

If there’s a negative for me, it’s that the wocka-wocka clavinet that stands out of the mix makes the song seem a tad dated, something you can’t say about much of the E Street Band catalog. We’d like to believe that “The E Street Shuffle” is a timeless dance that kids still do today. All you need is a little soul, a lot of time on your hands, and the indefatigable foolishness of youth.

Song 118: “Candy’s Room”
Album: Darkness on the Edge of Town

Springsteen plays the romantic underdog as well as anyone out there. Here he tells a tale as old as time, and certainly as old as rock and roll. Crooners have been trying to rise above penury to grab their girl away from a rich guy since the dawn of pop music. But Bruce has the E Street Band behind him, and that gives him an edge on the competition.

The band never wavers in the face of Springsteen’s high-tempo construction, as they milk every bit of drama from the situation. Max Weinberg obviously takes the spotlight here, starting things off with the tension-building high-hats before bursting into full sprint joined by his cohorts. Bruce himself tears off a searing guitar solo that rips through the edginess in thrilling catharsis.

The passionate descriptions of the lovers’ encounters are perfectly in sync with the powerful thrust of the music. The narrator knows that Candy is probably a dead end and that her rich suitors will only cause him trouble, but Springsteen’s genius is that he makes his argument so persuasive that you can understand the guy’s reckless pursuit. In that way, he takes one of the oldest song topics in the book and makes it new again.

Song 117: “I’m Goin’ Down”
Album: Born in the U.S.A.

Here we are, 83 songs into the countdown, and we’re making our first foray into the 1984 supersmash, Born in the U.S.A. You think Bruce was at the top of his game for that one or what?

“I’m Goin’ Down” was an unlikely Top 10 hit when it was released as a single in 1985, almost a year after the album’s release. Considering that the song can be considered a relative lark compared to some of the heavier material on the album, the chart success is a testament to both the momentum Springsteen had at that time and to the group’s recording experience of bringing out big things from little songs.

The bar-band swagger brought to Springsteen’s tale of sexual frustration is remarkable. It also helps to leaven what could have been an off-putting character; the guy comes off more like a sad-sack than a whiner, which is saying something if you just judged him based on the lyrics. Check out the little touches here and there which pull the song from the mundane, like the Latin lilt on the acoustic guitars at the start of the song to the vocals and hand-clap breakdown toward the end. This is a band, and an artist, that suddenly understood how to court the radio.

I’m sure a lot of people read some sexual innuendo into the oft-repeated chorus, and I don’t think Bruce would dissuade that reading, even though it’s probably reaching. After so many years of so many great songs going unheard by the public at large, you couldn’t begrudge Bruce pulling in listeners by any means necessary.

Song 116: “Long Walk Home”
Album: Magic

In “My Hometown” in 1984, the song ends with a father putting his son on his lap and letting him steer around the streets of their town. It was right of passage his father had done with him, trying to imbue pride in the boy for his home even as the Dad was considering leaving the place. In a “Long Walk Home,” recorded by the same artist 23 years later, it’s easy to imagine that kid, now grown, as the narrator, estranged from all that he loves and unable to recognize the place that he once toured with his father.

The artist, of course, is Bruce Springsteen; This isn’t a Foghat countdown, after all.

“Long Walk Home” is a fascinating example of how Bruce begins with a personal tale of alienation and disillusionment and spins it outward to reveal a bigger picture that is just as bleak.

What begins with a man losing his love widens into a look at America in decline. The man doesn’t recognize the values he grew up with in the residents, now all “rank strangers.” And what’s even more disheartening is that he doesn’t recognize his country anymore, the country that once knew “who we are, what we’ll do, and what we won’t.” By including the opening with the man and woman coming apart, Springsteen effectively shows how the breaking of bonds at a one-to-one level contributes, on some small level, to the deterioration writ large.

The music is a bit generic; it’s like the heartland rock of contemporaries like Bob Seger or John Mellencamp, but there isn’t any bite. Only Clarence Clemons’ sax solo gets through, beautifully conveying both nostalgia for times gone past and sadness that the promise of that past has been broken time and again.

Song 115: “Local Hero”
Album: Lucky Town

Inspired by an actual occurrence in which he spotted a wall-hanging of himself in a local gift shop between those of “a Doberman and Bruce Lee,” Springsteen tackled his mid-life identity crisis head-on in this enjoyably lighthearted track off Lucky Town. It’s somewhat reminiscent of “Glory Days” in both its sing-along chorus and its preoccupation with former triumphs.

It must be a truly odd moment to see your younger self on display. It also must have been especially weird for Bruce considering that he saw the picture in Jersey at a time while he was living in L.A. (hence the shopkeeper’s reply, “He used to live here for a while.”) The rumored price of the picture by the way: $19.99. That’s how much heroes are valued if they’re a tad past their prime.

There’s nothing very memorable about the music save the uplifting melody. The pretty female backing vocals really help to buoy the choruses though, and Bruce’s lack of any vanity about the situation keeps the song a lot of fun all the way through. Only a guy as modest as Springsteen could be as successful as he is and still be surprised to be a collector’s item.

Song 114: “Darlington County”
Album: Born In The U.S.A.

When the first sound you hear is a cowbell, you know you’re in for one hell of a road trip. Written back in 1978, “Darlington County” wasn’t revived until the 1982 sessions that produced a large chunk of 1984’s Born In The U.S.A. (There will be a quiz on this later, and with Bruce’s crazy recording process, if you pass you immediately earn a Masters.)

Give credit to Jon Landau for exerting his influence and helping convince Springsteen that these kinds of good-timey songs deserved a place on the album right alongside the tougher stuff. The album might have still been great without them, but it wouldn’t have had the populist edge that made it such a smash and elevated The Boss to new heights.

“Darlington County” is in South Carolina, which means that the narrator and Wayne had a lot of time to get into trouble on their journey from New York City to find work and females more amenable to their advances. Of course, things don’t work out the way they planned. The narrator ends up deciding to leave Darlington for greener pastures, while Wayne ends up incarcerated as his former road-trip buddy leaves him behind.

It still sounds like they had a good time, though, thanks to the E Street Band’s amazing chemistry. From Bruce’s Southern-fried licks on guitar to Clarence doubling up the “sha-la-la” chorus with his booming sax, it’s a killer effort. “Darlington County” may not have been the right destination, but it’s the getting here that counts.

Song 113: “Mansion on the Hill”
Album: Nebraska

Although they never made it to an album that way, you can imagine many of the songs on Nebraska being turned into full band performances. (Over the years, the band and Bruce have done just that to some of them in performance.) But it’s hard, for me anyway, to imagine “Mansion On The Hill” in anything but the stark, chill-inducing form of the original “Nebraska” recording.

Springsteen based the song on true-life trips he actually took with his dad. Of course, by the time he wrote the song, he was rich enough to be the one on the inside looking out, and to see the “steel gates that completely surround” being as confining to those inside as it was foreboding to those outside.

What makes the song is that Springsteen sings it reverently. Had he allowed irony or the hint of a sneer into his vocals it would have shattered the balance and distorted the reality of the situation. In the final verse, years have passed and the boy, now a man, still looks out at the mansion, still in awe. The boundaries remain unchanged.

“Mansion On The Hill” boasts one of the prettiest melodies on the album, and although it’s a bit of the same thing verse-to-verse lyrically, it almost has to be to convey the level of obsession this character has with the life he’ll never enjoy. Bruce may be playing it close to the vest vocally here, but his sad harmonica conveys all of the longing of those who remain forever in the valley in thrall of a life they can only admire from afar.

Song 112: “Nothing Man”
Album: The Rising

It might be the most harrowing song Bruce has ever released, and that state of despair doesn’t really reveal itself until the final lines. At first glance, it’s a tale about survivor’s guilt, but it doesn’t take much power of deduction to realize that the narrator is a 9/11 responder who was lucky enough to make it out alive. Although, considering the mood of the song, lucky doesn’t seem to be the right word.

After all, this is the tale of a man going through something to which no one could possibly relate, save the few who share his experience. (Hence, his repeated calls for his mate to “understand.”) As if she could.

What makes his predicament worse is the way he is hailed as a hero while carrying around this extreme burden of memory. The world outside stubbornly remains the same while his inner turmoil continues. Even the sky refuses to cooperate, hanging above him in “unbelievable blue.” What a perfect choice of words.

The last verse lays bare the pain so cleverly hidden by Bruce’s straight-faced vocal. When cornered at his local bar by a well-wisher offering thanks for his courage, he snaps back: “You want courage, I’ll show you courage you can understand/The pearl and silver restin’ on my night table/It’s just me lord, pray I’m able.”

The hope so prevalent in Springsteen’s work is absent here, momentarily shut out by the reality of the situation. It’s a chillingly honest portrayal.

The music is just for atmospheric background, and it was wise of Bruce not to pile on a sentimental melody. It’s very to-the-point, Max Weinberg’s rim shots breaking through the fog like a countdown to some unthinkable outcome. When Bruce allows his character some falsetto “sha-la-lys” at song’s end, it’s a well-deserved reverie. The other alternative, expressed by that last verse, is the ending few could possibly understand, nor would they want to.

Song 111: “She’s the One”
Album: Born to Run

OK, so they stole the groove from Bo Diddley. You could make a pretty great countdown of rock songs that have done the same.

The point is that the E Street Band play that groove with gusto and force that they just hadn’t shown at all on their first two albums. If there was any doubt that Bruce had locked into a great band lineup on Born to Run, “She’s the One” answers it decisively.

The thunder that they create is so powerful that it sounds like they’ve got about 20 members instead of the five that actually contribute to the track. Weinberg is fabulous again here, all touch and feel in the open and then crunch and boom for the rest. Roy Bittan is all over the place as well, both in the introspective opening verse and then finding open spaces to add flavor once the heavy guns kick in.

And Springsteen’s guitar-playing, always overlooked, is nothing short of incendiary.

All of that power helps to overcome one of the most trite standbys in the rock songwriter canon, the femme fatale who’s too hot to resist but too wild to keep.

Bruce pays her a bunch of back-handed compliments that may be eloquent but not too sympathetic. She doesn’t ever feel like a three-dimensional character; as rendered, she’s just a finely detailed cliché. But, then again, who cares about the lyrics when you’ve got such compelling rock and roll right in your face?

Bruce Cheers On Daughter Jessica Springsteen at Equestrian Event

Bruce Springsteen was spotted over the weekend cheering on his daughter, Jessica Springsteen, at the Old Salem Grand Prix, at Old Salem Farm in New York. Apparently, that’s some sort of equestrian horse race thingy, which is completely out of my wheelhouse of knowledge. Until now, that is. Because now that I know that this is how the Boss spends his weekends, I will be packing my husband and kids in the car and heading out to these events faster than you can say “Thunder Road.”

In all seriousness, I wouldn’t say I am THE biggest Springsteen fan on the planet. I’ve only been to a couple of dozen Bruce shows, which is a minor commitment compared to that made by other people. And while I did consider naming my daughter Wendy, Mary, Sandy, Candy, Kitty or Janey—I didn’t actually do it. Yes, I have several photos of the man hanging in my living room. But who says grown women don’t tack up posters of rock stars on their walls? Where is that written in stone?

More photos of Bruce Springsteen doing what he does best, looking way cooler than the rest of us—oh, and cheering on his kid—on the next page. And yes, I probably included more photos than I needed to. You’re welcome.

Kate Hudson: Almay’s newest Global Brand Ambassador With Bruce Springsteen

Kate Hudson was announced this week as ALMAY’s newest Global Brand Ambassador. Celebrity makeup artist Leslie Lopez created a fresh-faced and flawless look for Hudson at the ALMAY Concert to Celebrate the Rainforest Fund’s 21st Birthday.

Leslie Lopez breaks down her look:

1. Apply ALMAY smart shade makeup with your fingers and blend into the skin for an even tone

2. Under the eye and on the lid use the multi-tasking ALMAY bright eyes, eye base and concealer to help brighten eyes and keep shadow in place

3. Fill in the brows with ALMAY brow defining pencil

4. Apply ALMAY intense i-color eye shadow in trio for browns using the medium shade for the crease, and the darkest shade across the lid

5. Line the inside of the eye using ALMAY intense i-color eyeliner in brown topaz

6. Add just a touch of glitter to the eyelid for a radiant finish

7. For maximum impact, use ALMAY one coat dial-up mascara in its highest degree

8. To create a sunkissed look, apply ALMAY touch-pad blush in peach to the apple of the cheeks

9. For the lips, start with the ALMAY ideal lipliner in bronze which will make the lip appear fuller

10. Add ALMAY hydracolor lipstick in nude

11. Finish the lips with ALMAY pure blends lipgloss in natural just the center to add shine

Find ALMAY at Duane Reade and CVS locations throughout Manhattan or online at ALMAY.com.