Bruce Springsteen
Magic

THE REVIEW

In recent years, Bruce Springsteen has been remarkably prolific, especially if we compare the frequency of recent releases with those of the early nineties, where they were significantly rarer. We've had "The Rising" in 2002, "Devils and Dust" in 2004, "The Seeger Sessions" in 2006, and in the same year, the live in Dublin. Not to mention the associated DVDs and the "Born To Run" box set, including live recordings from that era. As 2007 comes to a close, "Magic" arrives. To review this album, I believe a preface is necessary.

I believe it is necessary to admit, without scandal, that for an artist like Springsteen, who records for a multinational like Sony, there are commercial logics to respect. Springsteen, in recent years, has recorded sophisticated albums with strong ties to traditional folk, which are not very radio-friendly as they lack suitable singles and are directed to an audience that is certainly not that of MTV and not even the big rock arenas. The Seeger album and the subsequent live performance are examples of this, despite the immense popularity of the character having still decreed a certain commercial success. I believe, therefore, that Springsteen "owed" his record label (which indeed always gives him a lot of freedom) a "saleable" record with a couple of singles for American airplay. This is understood, in the opinion of the writer, also from the album cover: the Boss's face in the foreground, no reference to his travel companions, a short and memorable title. These are details that in the music industry are rarely left to chance.

"Magic" is therefore part of the lineage that connects "Born in the U.S.A." to the underrated (in my opinion) "Tunnel of Love" and the underrated (for me, again) "Human Touch", as well as, in some aspects, to "The Rising".

Listening to the album (by now, several round trips from and to work) confirms the first impressions: this is stadium Springsteen, those looking for the balladeer of "The Ghost of Tom Joad" will find him only in flashes. The sound is very muscular, it almost sounds like Pearl Jam (see O'Brien's production), at times pompous, the songs are short, the refrains memorable like those of "Born in the U.S.A.", the E Street Band rocks greatly but without going too subtle.

The first single "Radio Nowhere" is a chunky rock for truckers, an "American" anthem with a chord progression that not even Ligabue uses anymore (and that's not a compliment, to be clear). The appeal is immediate, but from Springsteen, one would expect something less rough. The video, for those who have seen it, is on theme... Already with the second track ("You'll Be Coming Down"), things adjust a bit: Springsteen writes memorable hooks and the album takes a notable upturn. "Living in the Future" seems like at least four other Boss songs, yet it works wonderfully. "Gipsy Biker" has a compositional structure above average. "Girls in Their Summer Clothes" refers - by the author's own admission - to the Beach Boys of "Pet Sounds". "Last to Die" has a nice melody but the arrangement is on the coarse side. "I'll Work for Your Love" is a great song, in my opinion, even if the callback to other old Springsteen compositions is evident. "Long Walk Home", already in the Session Band's repertoire, is also a great song, although the E-Streeters, once again, leave aside the details for a plain and flat four-four time that ultimately ends up compromising the truly beautiful melody and the truly intense lyrics. "Devil's Arcade" and the title track don't leave a particular mark, as well as "Your Own Worst Enemy".

In conclusion: a very enjoyable album thanks especially to the quality of the compositions, as always above average. A couple of great tracks, lots of craft, two or three fillers. It's a pity for a production not attentive to details and for an E-Street Band too often rough and coarse in "dressing" the Boss's songs.

No one doubts that the album will be a success. For me, however, an "owed" and transitional album.

File under: car music.