Bruce Springsteen
Magic

THE REVIEW

By now, a new album from the Boss in the showcase isn't an extraordinary scoop anymore, as this would be the third studio album since 2004 ("Devils And Dust" and "The Seeger Sessions" being the previous ones), not to mention live performances, DVDs, re-releases with unreleased tracks, etc. But it is the first since "The Rising" (2001) to feature the anticipated return with the E-Street Band. Expectations are thus rewarded by this "Magic", which brings back to our ears the fantastic sax solos of Clarence Clemons, the guitar strums and dreamy harmonies of Little Steven that accompany our man's hoarse and screaming voice.

The album opens with "Radio Nowhere", the first single, outlining the general guidelines of the work: guitars in the foreground, sax solos, and choral power. But nothing new under the sun, and it is in this way that tracks flow quickly, reminding us of older episodes: "You'll Be Coming Down" seems a good rip-off of "Lucky Town", "Livin' in The Future" vaguely recalls "10th Avenue Freeze Out", "Girls In Their Summer Clothes" is a catchy remake of "Waitin' On A Sunny Day". But there are also higher episodes that, however, do not clearly emerge at first listen (Gipsy Biker, Last To Die, I'll Work for Your Love), while "Your Own Worst Enemy" disappoints with its tones of a romantic-Christmas ballad accompanied by violins. The title-track, perhaps the best song on the album, is a sad country ballad with sustained dynamics, seemingly coming out of "Tom Joad". In this sense, the electro-acoustic chapters are more striking (Devil's Arcade, or Long Walk Home, which concludes with a great guitar-sax duet), bringing us back to "Devils And Dust", rather than the more genuinely E-Street powerful rock. The album closes with the beautiful "Terry's Song", a pastoral country ballad led by acoustic guitar and harmonica. In conclusion, a confirmation that doesn't stray much from the sounds of "The Rising", often enriched with acoustic nuances, and that requires more than one listen to be fully appreciated.

Musically, the album is well-directed, although the insipid instrumental breaks often led by violins leave a bit to be desired, while the furious choral parts assert themselves aggressively. The lyrics are a mix between the poetic rock on the road of "The River" and the more composed maturity of "The Rising", with sometimes elevated lyrics (Magic, Devil's Arcade, Gipsy Biker). Thus, an album that maintains a certain mediocrity from start to finish, pleasant, but not extraordinary, without peaks high or severe drops in style. Not having the credits at hand, I can't be sure, but searching the web, there are rumors that not all tracks were recorded with the E-Street; it seems to be a middle ground between "Tunnel Of Love", where musicians appeared individually, and "The Rising", recorded with the full Band. Furthermore, there is talk of the last album with the historic band since the musicians seem to be of a certain age, and Springsteen seems to have moved away from the old wall of sound for some time now, something that echoes even in this latest album.

What will happen after "Magic" is not for us to know, but only to imagine. For sure, we will be here ready to be amazed again by the Boss...