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Can a war machine like the E Street Band, which set stages on fire first in America and then around the world, be set aside to be replaced by another four unfortunate souls who will have no place in rock history? If your name is Bruce Springsteen, it's possible. And as we often know, geniuses are self-destructive, and this time the choice to change the band is not due to personal commitments of each member and not even a collective choice, but only that of the leader. Year of (mis)fortune 1992; Bruce Springsteen returns to the limelight with new unreleased material five years after "Tunnel of Love." And he does it simultaneously with "Lucky Town," which, along with this "Human Touch," sees the light on March 31, 1992. The only survivor of the E Street Band is the pianist Roy Bittan. This album, contrary to the other, shows a more "populist" vein, and the markedly radio-friendly sound of the work seems to denature notable compositions such as "I Wish I Were Blind," "57 Channels (And Nothin' On)" and "Soul Driver". The album quickly enters the charts in second place and just as quickly exits them, causing a significant decline in sales (down 66% compared to the mid-1980s), especially in the United States, where Springsteen's name begins to no longer enjoy the same popularity as the previous decade. The fact of having found family stability, following his marriage to Patti Scialfa in 1991, has ambivalent effects on the new compositions because, on the one hand, the current sentimental situation and the veiled skepticism toward the past allow Springsteen to bare himself and develop a personal quest, but on the other hand, that same sensitivity makes him lose the emotional tension and energy typical of his previous works, with the result that the new ones seem to lack adequate intensity.
The lyrics, as usual, are always well written but add absolutely nothing relevant to the Boss's career; even the best episodes are not highlighted to their fullest potential due to not entirely adequate arrangements. Thus, we move from rocking episodes specifically thought for the stage like "All Or Nothing At All", a song which lyrically is just filler, or "The Long Goodbye", where the new Springsteen bids farewell to the old one. The title track remains the most inspired track of the album, and the absence of the E Street Band is not necessarily felt. "Soul Driver" and "57 Channels (And Nothin' On)" would have worked marvelously in an acoustic album, much like the beautiful "With Every Wish". "Cross My Heart" and "Gloria's Eyes" flow without particular jolts. Here we also find the only two Springsteen songs whose music was co-written with pianist Roy Bittan: "Roll Of The Dice" and "Real World". The former finally brings back a smile thanks to its lively music and prominent piano, while the latter is sacrificed by an overly pompous arrangement. "Man's Job" is pleasant but nothing more. The album concludes with the two most hated songs in Springsteen's repertoire: "Real Man", which personally amuses me, perhaps for that prominent synthesizer or the strong vocal interpretation, which in recent renditions has gradually diminished. And then the last "Pony Boy", a traditional lullaby dedicated to his newborn son. What effect does it have to hear Springsteen sing a lullaby? Ask any fan and judge by their expression.
I remember that this album, when I discovered it, I liked it, but I hadn't yet come to terms with "The River," "Darkness on the Edge of Town," and "Born to Run." So, the impression is that if you don't know the Boss, you might even appreciate this album. If nothing else, you'll find it an honest album. If you love him, however, you'll wrinkle your nose. Yet judging by the outtakes from that period, such as "Seven Angels," "Leavin' Train," "Waitin' On The End Of The World", and "30 Days Out", there were all the cards in place to make a great album. But maybe it's just the charm of the "outtake." I wonder if Springsteen himself believed in this change of course since, in the concerts, the instrument that was prominently featured was Roy Bittan's piano. And inevitably, empty seats began to appear in the audience. Fortunately, this is the past. In the last ten years, Bruce and the E Street Band have given us more unforgettable moments.
Until next time...
Tracklist Lyrics Samples and Videos
01 Human Touch (06:31)
You and me we were the pretenders
we let it all slip away
in the end what you dont surrender
well the world just strips away
girl aint no kindness in the face of strangers
aint gonna find no miracles here
well you can wait on your blessings my darlin'
but i got a deal for you right here
i aint looking for prayers or pity
i aint coming round searchin' for a crutch
i just want someone to talk to
and a lil' of that human touch
just a lil' of that human touch
aint no mercy on the streets of this town
aint no bread from heavenly skies
aint nobody drawin' wine from this blood
its just you and me tonight
tell me in a world without pity
do you think that what im askin's too much
i just want something to hold on to
and a lil' of that human touch
just a lil' of that human touch
oh girl that feelin' of safety you prize
well it comes with a hard price
you cant shut off the risk and the pain
without losin' the love that remains
we're all riders on this train
so you been broken and you been hurt
show me somebody who aint
yeah i know i aint nobody's bargain
but hell a lil' touch up
and a lil' paint
you might need something to hold on to
when all the answers they dont amount to much
somebody that you just can talk to
and a lil' of that human touch
baby in a world without pity
do you think what im askin's too much?
i jut want to feel you in my arms
and share a lil' of that human touch....
03 57 Channels (and Nothin' On) (02:28)
I bought a bourgeois house in the Hollywood hills
With a truckload of hundred thousand dollar bills
Man came by to hook up my cable TV
We settled in for the night my baby and me
We switched 'round and 'round 'til half-past dawn
There was fifty-seven channels and nothin' on
Well now home entertainment was my baby's wish
So I hopped into town for a satellite dish
I tied it to the top of my Japanese car
I came home and I pointed it out into the stars
A message came back from the great beyond
There's fifty-seven channels and nothin' on
Well we might'a made some friends with some billionaires
We might'a got all nice and friendly
If we'd made it upstairs
All I got was a note that said "Bye-bye John
Our love is fifty-seven channels and nothin' on"
So I bought a .44 magnum it was solid steel cast
And in the blessed name of Elvis well I just let it blast
'Til my TV lay in pieces there at my feet
And they busted me for disturbin' the almighty peace
Judge said "What you got in your defense son?"
"Fifty-seven channels and nothin' on"
I can see by your eyes friend you're just about gone
Fifty-seven channels and nothin' on...
Fifty-seven channels and nothin'
07 Roll of the Dice (04:17)
Well I've been a losin' gambler
Just throwin' snake eyes
Love ain't got me downhearted
I know up around the corner lies
My fool's paradise
In just another roll of the dice
All my elevens and sevens been comin' up
Sixes and nines
But since I fell for you baby
Been comin' on changin' times
They're just waitin' over the rise
Just another roll of the dice
I've stumbled and I know I made my mistakes
But tonight I'm gonna be playin' for all of the stakes
Well it's never too late so come on girl
The tables are waiting
You and me and lady luck well tonight
We'll be celebrating
Drinkin' champagne on ice
In just another roll of the dice
High-rollers lay down your bets and I'll raise 'em
Well I know the odds ain't in my favor
Maybe I'm just a clown throwin' down
Lookin' to come up busted
I'm a thief in the house of love
And I can't be trusted
Well I'll be making my heist
In just another roll of the dice
Move on up
Come on seven
Roll me baby
In this fool's heaven
10 Man's Job (04:37)
Well you can go out with him
Play with all of his toys
But takin' care of you darlin'
Ain't for one of the boys
Oh there's somethin' in your soul
That he's gonna rob
And lovin' you baby lovin' you darlin'
Lovin' you woman is a man's man's job
Lovin' you's a man's job baby
Lovin' you's a man's job
Lovin' you's a man's job baby
Lovin' you's a man's job
Well now his kisses may thrill
Those other girls that he likes
But when it comes to treatin'
A real woman right
Well of all of his tricks
No they won't be enough
'Cause lovin' you baby lovin' you woman
Lovin' you darlin' is a man's man's job
Lovin' you's a man's job baby
Lovin' you's a man's job
Lovin' you's a man's job baby
Lovin' you's a man's job
You're dancin' with him he's holding you tight
I'm standing here waitin' to catch your eye
Your hand's on his neck as the music sways
All my illusions slip away
Now if you're lookin' for a hero
Someone to save the day
Well darlin' my feet
They're made of clay
But I've got something in my soul
And I wanna give it up
But gettin' up the nerve
Gettin' up the nerve
Gettin' up the nerve is a man's man's job
Lovin' you's a man's job baby
Lovin' you's a man's job
Lovin' you's a man's job woman
Lovin' you's a man's job
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Other reviews
By Night87
If the album ended here, you could save 60% of it, let’s say.
Another artist in a period of creative crisis would have done worse, and surely from this point, Bruce’s revival began.
By fyguns
The work alternates snappy tracks with slower ones, and in my opinion, it is with the latter that Bruce keeps the entire album afloat.
Human Touch -save 2 or 3 songs- is an album a bit deflated and in many parts quite unoriginal.
