Upon the release of “Tunnel of Love” in October 1987, I wrote a very lukewarm review of the record for the UNC weekly newspaper. I felt it was too introspective and the themes too adult for someone who really wasn’t ready to grow-up – me.
As time passed, my maturity grew and my experiences widened, and it was just those themes that resonated with me, making it an essential and vital recording. To this day, I think that album is the finest rock and roll example of what it means to be a grown up and struggle in adult relationships.
So, I am wondering if I will grow in my appreciation for “High Hopes,” Springsteen’s new album, which somehow was released two weeks early by Amazon on its mobile site for a few hours yesterday. I was in the right place at the right time, and grabbed it.
This collection of a couple of covers, a re-record and a handful of leftovers is not one I had high hopes for. And for the most part, it meets those not-lofty expectations.
For starters, there is no need for a studio electric “Ghost of Tom Joad.” Despair works better than anger for this song’s theme, and the whole affair comes off as overblown, despite and because of Tom Morello's guitar work. The covers are well done, but pointless, and while it’s nice to have a studio version of “American Skin,” there is nothing there that will make me want to go back to listen to this rather than a live version.
That leaves us with the “new” songs. “Down in the Hole” is told from the perspective of a loved one left behind in the wake of 9-11 and is a musical rewrite of “I’m on Fire” Ghostly effects and a children's choir make this somewhat interesting but it's a topic he ultimately tackled much better on "The Rising." “Frankie Fell in Love” is catchy, but mostly unremarkable other than the fact that Springsteen equates himself and Steve van Zandt with Einstein and Shakespeare. “Heaven’s Wall” is an attempt at gospel, but comes off as generic and repetitive (and not infectiously repetitive as found in a lot of the best gospel).
“Harry’s Place” stands as the low point on the album, a 80’s sounding Miami Vice-like track that Glenn Frey would have left in the vault. An added detriment is the addition of F bombs. Crude, coarse, unnecessary, and particularly lazy for an artist with his lyrical gifts.
Much better are “The Wall,” an acoustic remembrance of a hometown musical forebearer killed in Vietnam, and “This is Your Sword.” A mournful trumpet finish adds a taps-like feel to the former, and it is heartfelt and touching. The latter has an Irish feel and is a lilting call to the power of persistence, love and faith.
But the real standout here is “Hunter of Invisible Game,” wherein Springsteen searches (at heart, he is always searching) for something that will redeem his faith. A waltz (!) featuring infectious strings and a nice hook give this a unique and welcome addition to his catalog. Still, it’s not going to place anywhere near the top echelon of Springsteen’s work.
“High Hopes” is his version of The Who’s “Odds and Sods;” a scattered effort with no core and not quite enough substance. These are songs that would have all fit better on "Tracks 2," his next grab bag of songs/ideas/lost arguments that do not fit anywhere else.
In essence, I highly doubt there will a reappraisal of "High Hopes" in the manner of "Tunnel of Love." But Springsteen, at 64, still remains a relevant artist, and there will invariably be high hopes for his next work.
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