High Hopes : la tracklist officielle

From UK Classic Rock magazine.. 8/10 - (copied from BTX and tidied up)



The world tour that Bruce Springsteen and the E Street Band embarked upon shortly after the release of 2012's Wrecking Ball has yet to come to an end, a second sweep through Australia and New Zealand keeping them on the road until early March. Such an intense itinerary would suggest little time to prepare a follow-up album, but High Hopes arrives as a result of trawling the archives and whistle-stop visits to studios between shows.

It's a new Springsteen album, but with many familiar motifs, including a couple of pivotal tracks that appeared in different form on previous records, and other songs show cased onstage down the years.



Consequently, there's no linking narrative here, no umbrella themes like on The Rising, Devils and Dust or Wrecking Ball; instead, it's a pleasing patchwork of echoes of the past.
While the E Street Band, including dear departed members Clarence Clemons and Danny Federici all feature, the most notable collaborator is Rage Against The Machine guitarist Tom Morello on eight of the 1 2 tracks. His presence continues a liaison which began when he stood in for Bruce's regular right-hand man Steve Van Zandt, who took a short sabbatical from the tour last year to film the second series of TV crime dram a Lilyhammer.

Morello brings to the party a tougher, more aggressive guitar sound than usual, best exemplified on a reworking of American Skin (41 Shots) and the overhaul of The Ghost Of Tom Joad (on which he also shares lead vocals), the sombre, whispered acoustics of Springsteen's 1995 original Jettisoned in favour of an amped-up, combative folk-rock assault. "Tom and his guitar became my muse, pushing the rest of this project to another level," Springsteen writes in the liner notes.

It was Morello's idea to record the title track, a cover of a 1990 song by Los Angeles rockers The Havalinas, his wah-wah guitar underpinning a folk-funk groove that lays the foundation for a raging, pleading lyric that might just as feasibly have come from Bruce's own pen (Give me help, give me strength, give a soul a night of fearless sleep'). It marks the first time (apart from live releases) that Springsteen has included other people's material on one of his albums, and it doesn't stop there. Having said that, The Saints' Just like Fire Would sounded fairly like a Boss song in its original form, while Suicide's Dream Baby Dream has intermittently been part of the Bruce live set for nearly 10 years, to the point where it's often mistaken for one of his own compositions, much in the same way as Tom Waits Jersey Girl. For the long-standing Springsteen fan, there's a fun game to be had identifying the touchstones of his past; the brooding, menacing Harry s Place plays like a seedy small town remake of Murder Incorporated, the subdued shuffle of Down ln The Hole could well be a sequel to the outcast lover's tale l'm On Fire (' . . I'm buried to my heart here in this hurt'), and the jangling, folk-infused this Is Your Sword is cut from the same uplifting cloth as the more defiant and anthemia components of The Rising and Wrecking Ball.

Paradoxically, the album's two most evocative selections prove to be the most throwaway and the most substantial. The goodtime Frankie Fell in Love transports Springsteen back to the early'70s, to the days of sharing a run-down apartment on the Jersey Shore with Van Zandt, a joyously simplistic celebration of a buddy getting the girl of his dreams (World peace gonna break out, from here on in we're eatin' takeout').lt wouldn't have sounded out of place amid the juke box bounce of The River.



The flipside to such frippery is The Wall, Springsteen at his most poetic on a eulogy inspired by another real-life )jersey native who went missing in action in Vietnam. The song finds Bruce standing in front of the stark Washington DC memorial with the names of more than 58,000 fallen souls carved into it ('This black stone and these hard tears are all got left now of you'),remembering times past.



Whereas it’s undoubted companion piece, 1998's Brothers under The Bridge, focussed on returning veterans struggling to adjust to post-war civilian life, The Wall offers up an elegant prayer for those who never made it home. High Hopes is Springsteen's sixth album in a little over eight years, an impressively prolific output matched only by Neil Young among acts of a similar calibre and vintage, and while some of its contents may have been first earmarked for earlier releases, there's nothing to suggest the well will run dry anytime soon. The Boss continues to aim high, filling his legions of followers with hope.

the diver a écrit:De caunes , ce midi sur canal disait que l'alboum serait très bon , qu'il espérait l'avoir sur son plateau mais que pour Janvier ce serait dur car Bruce serait en Afrique du Sud pour des concerts .

darlington a écrit:

the diver a écrit:De caunes , ce midi sur canal disait que l'alboum serait très bon , qu'il espérait l'avoir sur son plateau mais que pour Janvier ce serait dur car Bruce serait en Afrique du Sud pour des concerts .

Je le vois mal dire l'alboum est une bouze le Tonio !

Marc a écrit:
Par contre le fait qu'il "travaille" sur sa venue au Grand Journal est intéressant ..... même si j'ai très peur de ce que ça pourrait donner s'il concrétise   

trouvé sur le forum greasylake a écrit:From the Editors of Be True (Netherlands)
Translated with google


High Hopes-preview
First impressions after a listening session 28-12-2013
Springsteen's new album High Hopes. Appears on 10 January An unusual Springsteen CD, a collection of old and new songs, covers and re-recorded tracks. The editors of Be True if the album already listen once and gives a first impression.

Jos Westenberg and Muriel Kleisterlee

In a retrospective project of Springsteen if this is the idea soon returned to the Tracks box with outtakes, but this is High Hopes shortchanged. The songs on the new album sound more contemporary than the outtakes of 4cd box that appeared in 1998. Bruce said in a recent interview with Rolling Stone that he had been standing for a while, the songs on his computer and found that they fit together: "They have a similar sound image."



During the Wrecking Ball tour Bruce Ron Aniello, who Wrecking Ball album was produced by him early to work on. Fifteen songs Meanwhile, the tour company of E Streeters went to Australia in early 2013, without Little Steven. Bruce had Tom Morello asked to participate. His place on the podium in Springsteen is a fan of Morello's guitar work, as is known, for example, "The Ghost of Tom Joad' version of the Magic tour reaches maturity. Morello had already worked for the Wrecking Ball album with Bruce in the studio, which resulted in his guitar solos on "Jack of All Trades' and 'This Depression'. And in Australia showed that the catalyst Morello Springsteen alarm for studio recording time did ring.

Tom had applied for the Australian shows at Bruce 'High Hopes'. The cover of Tim Scott McConnell of The Havalinas had Springsteen and the E Street Band recorded already in 1995. Morello had heard and thought something special to add. With this he hit the right chord with Springsteen and while the tour Sydney aandeed, lastte Bruce headlong into a studio session to continue the momentum that he experienced on stage, capture. On plate During breaks in the Wrecking Ball tour left Springsteen E Street Band members to the studio Aniello in Los Angeles or come to his studio-to-house to fill. Admissions at This meant that soon after the completion of tour in South America, and just before the new shows in South Africa and Australia, a new album is in stores.

The track-by-track description is based on a listen.


High Hopes

This version is now known to everyone, the song appeared as early as a single in late November. With a howling guitar Tom Morello shows us why he wanted to play this song. Tim Scott McConnell as live Percussion and horns are prominent. Precisely those three ingredients are the notable changes to the version that was recorded in 1995. During the Greatest Hits studio time
The importance of 'High Hopes' as a starting point for the entire album turns out Springsteen's decision to give. Album of the same title as this cover The lyrics of the song fits well with the theme of Wrecking Ball: with hard work, good intentions and high expectations not only save you in this society. Good intentions turn quickly into a cry for help and support:

It will not take much to kill a loving smile
Every mother with a baby crying in her arms singing
give help me, give me strength
give a soul a night of fearless sleep

In America today, you do not have to count on the support and it is questionable whether there is for parents and their children a future role to play:

I wanna buy some time and maybe live my life
I wanna have a wife, I wanna have some kids
I wanna look in their eyes and know they'll stand a chance



Harry's Place

This song Springsteen wrote in the period of The Rising and is typical of the work of Brendan O'Brien, the album kent 2002. Stratification in terms of production During a TV interview with Ted Koppel for Nightline program that Bruce did for the release of The Rising, he read a piece of the song lyrics from his book:

Downtown hipsters drinkin 'up the drug line
Down in the kitchen workin 'in the coal mine
Got a special sin, mister, you can not quite confess
Messy little problem, maybe baby needs a new dress
Razor-back diamond shines a little too hard
Need a hammer help you handle a little trouble in your backyard
Bring it on down to Harry's Place

This is almost the entire first verse. "Harry's Place" is a rock song that starts with Springsteen by the radio microphone with distorted voice sings: "Bring it down to Harry's Place." The person Harry is a mob boss ("He rules") that inspires everyone around awe and fear. Bruce often go by the song "fuck" used something a "parental advisory sticker" will generate alerts for "bad language." Him in the U.S. on CD "You do not fuck with Harry's money, you do not fuck Harry's Girls" is an example.
There are also some seedy characters along with distinctive nicknames like Seesaw Bobby. The person I want to work for the criminal organization of Harry and gets obscure commands: "Voice whispers in my ear:" We do what we must do '"and" You bring it down to his place. " He becomes the criminal imbibed and can not break free from: "Looking for the key of the box you locked yourself into."
In terms of music and atmosphere calls' Harry's Place 'memories of' The Fuse 'and' Further on Up the Road. " At the end of the song, after the Harry figure described as the great 'kingpin' to whom everyone is afraid, it appears that in fact no one has ever seen him. "Nobody's got his number, nobody knows his name If he doesn it exists, it will all be the same. "


American Skin (41 Shots)

This is the version that played live Springsteen during the latter part of the Wrecking Ball tour, with an additional guitar solo at the end. Bruce wrote "American Skin" following the death of Amadou Diallo, who was shot dead in New York by two police officers who thought Diallo was armed. In a porch in 1999 Nineteen of the forty-one shots that the agents dissolved, hit Diallo. The officers went unpunished, but the family of Diallo filed a lawsuit, which eventually out of court by the prosecution with the family was settled.
Springsteen played the song for the first time in Atlanta at the end of the reunion tour in 2000. Also in the series of ten shows in New York was the number on the setlist. The performances were not well received by the fans in New York. It also called boos at Madison Square Garden and indignant reactions from police spokesmen in the media. They interpreted it as a direct charge against the police action.

A live performance of "American Skin" was released in 2001 on Live in New York City. Bruce also took right after the tour a studio version with the E Street Band. This version appeared on a promo single, which is very rare. Springsteen's song, albeit sporadically, keep playing, even during the Rising tour and Working on a Dream tour live.
An event in Orlando in February 2012 Bruce was the reason to bring the number. Attention The 17-year-old black Trayvon Martin was then shot by a vigilante viz. Martin was an innocent student, unarmed, but he wore a hood that night and the vigilante indicated to feel threatened. He was charged with manslaughter but acquitted. Springsteen has instructed twice to Trayvon Martin during the Wrecking Ball tour "American Skin".
The implementation of High Hopes similar to the recent live performance, but has a different beginning: Bruce sings first four times "41 shots" into the radio microphone. The saxophone solo in the song would be an old recording of Clarence may be (Be True disposal during the listening session does not have additional information, such as those which song is playing and when the numbers are recorded).



Just Like Fire Would

A cover of the Australian band The Saints 1986. At the concert in Brisbane on March 14, Springsteen and the E Street Band played it live once. The studio version sounds catchy and full, with the blowers in a strong supporting role. This song would have fit well on Little Stevens first solo album Men Without Women. You may be wondering why this cover Springsteen just it chose to bring out and why at this time. According to the liner notes that were published on his website, it is one of Springsteen's favorite Australian punk bands.



Down in the Hole

This number seems musically like 'I'm on Fire. At the beginning you hear reminiscent of the live version of 'I'm on Fire "as Bruce who played during the Devils & Dust tour. Banjo The drum pattern is the same as that of 'I'm on Fire "and early high humming heard, probably from Patti, which also' I'm on Fire" reminds. The song contains many organ and violin and Bruce sings the first verse with a nasal voice. Halfway through the second verse he sings on with a normal voice.
Springsteen probably considered to put this song on The Rising because Brendan O'Brien is responsible for the production. Bruce describes it seems, hear the quest for a deceased spouse. It does that matter in well with the theme of songs like "Countin 'on a Miracle," "Empty Sky" and "My City of Ruins." Bruce also has used the imagery of a deserted town ("Empty city skyline" and "I wake to find my city's gone to black, I dig until I get you back") to describe death. Other text lines are "I'm buried to my heart in this hurt" and "The day ripped apart, a dark and bloody arrow pierced my heart."


Heaven's Wall

This is a powerful gospel song with many references to the Bible. The song is strongly in 'Rocky Ground' thinking, only more upbeat and without rapsectie. At the start singing a chorus repeating: "Raise your hands, raise your hands, raise your hands." Bruce describes a woman at a well and uses images from the Old Testament: "Men of Gideon, one of Saul" and "Sons of Abraham". Abraham is the patriarch of the Israelites (the ancient Jews) and Gideon and Saul are early leaders of the people. The chorus refers to the promised land of Canaan, which is now Lebanon, Israel, Palestine and part of Egypt:

Outside the walls of Heaven
Raise your hands, raise your hands, raise your hands
Together we walk into Canaan land

Bruce also refers briefly to the story of Jonah and the whale. 'Swallowed Up', which is all about the Biblical story, shrugged, as a bonus track though, but Wrecking Ball. Seems musical "Heaven's Wall" a bit like 'High Hopes', uplifting, full sound with lots of percussion and a guitar duel. And the inevitable 'lai lai lai will' Heaven's Wall ", as it is played live once, make a successful sing-along. Brendan O'Brien gets the credits for the production, with Ron Aniello as co-producer.


Frankie Fell in Love

This is a nice song but with a very simple text. The first verse:

Good morning, good morning
The church mouse is snorin '
The news is out all over town
Frankie fell in love

and the last verse:

Good evening, good evening
The church mouse is sleepin '
The news is out all over town
Frankie fell in love

are not part of Springsteen's best writings. Yes, Frankie is in love and that's pretty much the only thing in this song is about: "Somebody tell mama Frankie fell in love". Bruce writes in the liner notes, however, that the text of the song refers to the time, in the early seventies, he was living in Asbury Park with Little Steven. At first listen is that story difficult to achieve, at most in the second verse as Bruce sings that he is so happy that his roommate is in love, and that they are only ready-to-eat pick their food out there, "World peace gonna break out, from here on in we're eatin 'take-out'.
At the end of Shakespeare and Einstein come along, which together have a beer at the bar drinking and getting into a discussion about love: "Shakespare says it all starts with a kiss." Einstein tries to solve the back of a napkin, but difficult math on Shakespeare explains to him: "One and one is three, it's just like poetry, Frankie fell in love."


This is Your Sword

This song and the next, 'or Invisible Hunter Game', after one listen to the slightest impression. Is heard bagpipes and at the end a mandolin. An atmospheric track where Bruce conjures up images of knights or vikings:

This is your sword, this is your shield
This is the power of love revealed

and:

Brothers and sisters, listen to me
Give all the love that you have in your soul
Days of miracles will come along

"The sword of your fathers" is transferred to the next generation or the new heir. "Do not despair, our love is real" is a phrase that is reminiscent of "Born to Run", but also to the great Italian request board in the stands of San Siro at the concert in Milan this year (with the text: Our Love Is Real - NYCS).


Hunter or Invisible Game

Produced by Brendan O'Brien. It is a quiet song, with fuzzy images. Someone builds an ark in the first verse and wait for the rain. The story seems to describe. The end of time Again empty cities that symbolize death:

Empty cities and burning plaines
The hour of deliverance comes to us all
There's a kingdom of love waiting to be reclaimed

Bruce writes in the liner notes that the story is about passengers in a wasteland. This song should get more spins understood and appreciated, be. The end of the song is carried fade if it runs on vinyl, with crackling sound.


The Ghost of Tom Joad

The guitar wizardry of Tom Morello on this number are known, and as with the live performance Bruce sings "The Ghost of Tom Joad" on the record as a duet with Morello. It's a strong performance, something more stylized than the live performance. The first guitar solo Morello is strong, but his second guitar solo is true superlative squared. Very strong, when you hear it you immediately understand why Bruce got inspired by Morello. There are heavy drums and the accordion, known for the live versions,


The Wall

The understated 'The Wall' is a potential winner on the album. Bruce wrote a while back with Joe Grushecky, and he played it live four times: twice in 2003 at the special benefit of Double Take Magazine in Somerville and twice during the Devils & Dust tour. 'The Wall' refers to the memorial for Vietnam veterans in Washington, DC There, standing in a long black wall, the names of soldiers who died in the Vietnam war or were missing.



The Vietnam War is a recurring theme in Springsteen's music. There are many songs that directly or indirectly refer to the war, which took place when the young Bruce could have and partly because probably made an impression on him. Himself a soldier Bruce, the service itself was able to escape and as an almost certain deployment to Vietnam spared, had in his own environment two musicians who were sent to Vietnam and died there: Bart Haynes, the drummer of The Castiles where Bruce himself played , and Walter Cichon, the lead singer of The Motifs, a popular band in Freehold in 1965.

In the liner notes Bruce writes about Cichon: "Walter was one of the great early Jersey Shore rockers, who, with his brother Ray (one of my early guitar teachers) the band The Motifs The Motifs was a local rock band that's always on. everyone ran. Rough, sexy and rebellious, they were the heroes that you would like to be themselves. But these were heroes that you could touch, with whom you could talk to and who you could imagine. music questions Cool, but always accessible, They were an inspiration to me and to many young musicians who worked in central New Jersey in 1960. Though my character in 'The Wall' is a Marine, Walter was actually in the Army, Company A, Third Battalion, eighth infantry. He was the first person with whom to I contact came who had the mystique of a true rock star. Walter went missing in action in Vietnam in March 1968. He still occurs regularly in my mind, the way he stood, dressed the tambourine held, the indifferent coolness, freedom, the man who by his attitude, his style of walking, said. 'You can all this defy everything you've learned, learned to be afraid of and to love, and it will be all right. " His death is a terrible loss for us, for his loved ones and for the local music scene. I miss him was still there. "
Cichon was 22 when he died in Vietnam. Bart Haynes, the drummer from Springsteen's second band The Castiles, was 19 years

In December 1997 Bruce traveled Patti Scialfa the Vietnam memorial in Washington, where he is the Kennedy Center Honors gala would attend. Evening in honor of Bob Dylan Together they sought the names of Chicon and Haynes on the wall. Later that night they met at the gala dinner Robert McNamara, the man who during the Vietnam War, became Minister of Defence and the war in Vietnam wanted to keep, even when a vast majority of Americans were already against it going. Only later, the mid-nineties, McNamara explained that when he was wrong, and he expressed regret his decision to send more. Americans to war
The lyrics of the song, which Bruce wrote after his visit to the monument, the main character, goes alone to the black wall with names, a deceased friend who was killed in Vietnam:

This thesis blackstone and hard tears are all I've got left now or you
I remember you in your Marine uniform laughing, laughing at yourshipping out party
I read Robert McNamara says he's sorry

The deceased friend played like Cichon in the best rock band of the city:

You and your boots and black T-shirt, ah Billy you looked so bad
Yeah you and your rock 'n' roll band was the best thing ever had this shit town
Now the men that put you here eat withtheir families in rich dining halls
And apology and forgiveness got no place here at all at the wall

The music is subdued, Bruce plays acoustic guitar in the beginning and later comes the piano there. The band take more and more space, there is an organ solo, accordion penultimate verse and at the end of a trumpet solo with snare drum accompaniment.


Dream Baby Dream

'Dream Baby Dream', the cover of the band Suicide from 1979, is best known as the song that Bruce Devils & Dust shows ended. It is also the closing of High Hopes. During the live performance in 2005, Bruce sang the first part sat behind a harmonium, and then he spun the end of a long, standing at the front of the stage while a sample of the music constantly repeated and continued to resonate. It was a hypnotic mantra at the end of the intense shows. So strong is the new version of "Dream Baby Dream" on the plate is not. The end is considerably shortened and there are more tools and samples added that actually provide too many distractions. 'The Wall' might have been. Better end


A live performance of 'Dream Baby Dream' was released in 2005 on an obscure 10-inch EP. The studio version of the song on High Hopes state, the accompanying music in the clip that Bruce had made to his fans to thank. At the end of the Wrecking Ball tour

papi a écrit:
C'est terrible pour lui je trouve parce que le contraste est si fort entre des titres bons dans tous les sens du termes et ces quelques fonds de tiroirs d'une décennie 2000 discographiquement la plus faible et de loin de sa carrière.

Bruce The Boss a écrit:

papi a écrit:
C'est terrible pour lui je trouve parce que le contraste est si fort entre des titres bons dans tous les sens du termes et ces quelques fonds de tiroirs d'une décennie 2000 discographiquement la plus faible et de loin de sa carrière.

Tu trouves que la décennie 2000 fut moins bonne que sa décennie 1990 ?

Moi, je trouve que sa décennie 1990 fut sa plus faible. Je suis impressionné par les albums qu'il a sortit depuis 2002. Pour un artiste de plus d'un demi-siècle de vie, qui dit mieux ?

(Je n'ai pas encore écouté High Hopes. Mais d'après ce que j'ai lu, ça ressemble à plusieurs de ses albums dans le sens que la chanson préférée des uns est la moins bonne pour d'autres, et vice-versa.)

Bibi Jean a écrit:Je venais d'écrire un long résumé de je sais pas combien de paragraphes sur mon analyse de l'album et j'ai fait retour sans faire exprès, je suis en colère contre moi-même   
J'attend que ça passe pour pouvoir commencer à tout réécrire   

benjimagne a écrit:Courage !

papi a écrit: il y a bien cette pépite qu'est The Wall