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About CrushOnOutlawPete

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  1. Thanks! I'll pick that one up ASAP. Is my suspicion about Magic sounding better on vinyl correct?
  2. This is surprising to me, given "Out on this highway, counting white lines" in "American Beauty" -- must be intended as a double meaning. Anyways. THIS SONG IS GREAT AND THIS IS A GREAT THREAD WOW "GYPSY BIKER" IS SO GOOD. Let me tell you -- it took some time for me to come around on it, somehow. I guess there is something.... loose?? about it, musically, compared to a "Girls in Their Summer Clothes" or, well, most of the rest of the album, that made me just kind of gloss over it. BUT IT HAS BEEN SEVERAL YEARS NOW SINCE I HAVE SEEN THE ERROR OF MY FORMER WAYS AND REALIZED THAT "GYPSY BIKER" IS IN FACT A MASTERPIECE MAGIC IS AN EXCELLENT ALBUM - IT IS MY #5 BRUCE ALBUM OF ALL TIME, which probably makes it like my #6 album in general, AND I HAVE FLIRTED, EVEN, WITH PUTTING IT AT #4 (because I don't really know how to flirt with me, so I instead spend my time on things such as this), THE POINT BEING, 'TIS AMONG NOT JUST THE BETTER ONES, BUT, INDEED, THE BEST ONES. And on that glorious album I have found that "Gypsy Biker" is perhaps my third- or fourth-favorite song???? Which is really favorable considering how great the album is!! "Devil's Arcade" is my #1 -- it's my second-favorite song ever written, POSSIBLY my FAVORITE(!!), and so certainly my favorite here -- and I think I'd also pprproroooobably have to put "GIIIIIIRLS in Their Summer Clothes" above "Gypsy Biker" maybe.... and like... possssibly "You'll Be Comin' Down"? Possibly? But tbh I think even those are wrong and "Gypsy Biker" might honestly be my #2 cut on the album. IT IS JUST SO GOOD. IT IS SUCH A PERFECT PROTEST SONG. I mean -- like -- okay. When I think of Magic, as a whole... and let me tell you, I think of Magic often. It may be the Springsteen album I revisit the most frequently. I love Magic. If I didn't need to work in order to gain money (curse you, capitalism!) or, like.... eat... like -- if I could just upload my consciousness into media, and exist within that media indefinitely -- I would very, very likely spend a LOT of time simply existing in the album Magic. I love it. It is so great. I think about this album often. Okay? But, when I think about it as a whole -- this song, these lyrics - these are the lyrics I think of. THIS song is PURE, absolute Magic. (I didn't mean that as a play on words. I just meant, like, the album. This one embodies the spirit of the album.) I mean -- well, okay, first things first, just go listen to it. LISTEN TO IT. Because I could sit here picking lyrics or you could go back and LISTEN to them delivered in context, because they're all great -- but -- if you were going to try to hook someone on Magic, lyrically... suppose you could play them no audio, but you were to convince them this album was great, and could choose only a couple of lines with which to do it. Okay? There are -- like -- Magic is full of great lyrics. There are so, so, SO many lyrics you can pick from this album that embody it perfectly. (Some of which are on found in "Lonesome Day" rather than anywhere on Magic!) But -- a LOT of them -- are here. Like, if you were going to pick one lyric, can you honestly look me in the eyes (metaphorically since we don't live together [also I don't like eye contact]) and tell me you wouldn't fucking pick "The favored march up over the hill In some fool's parade Shouting 'Victory for the righteous!' But there ain't much here but graves" (note: one could read it as "fool's" or "fools'" - I'm not sure which one it's MEANT to be, properly - and it actually changes the line quite a bit, and I think I tend to hear it as "fools'" - but, it's great either way.) Anyways. Ambiguity aside. Like... god. I've heard it so many times -- I, I mean checking my, I've heard this song 150 times. (It'll be 151 before too long!) So -- like -- you know -- when these songs, when they're so familiar, sometimes you gotta... like... in some review of "Born to Run" (the song), maybe Jim Beviglia's book, he said that to really appreciate it, you have to remove yourself from the insular context of Bruuuuuce-dom and go back, listen to the song as if you've never heard it before, and just let the lyrics hit you as if you're hearing them for the first time again. Really try to put yourself in that mindset and engage with the beauty of them for what they are. And that's - that's a great idea. And so, trying to do that here... Jesus, those lyrics, they're like a fucking slogan to me. They DEFINE this album for me (as do so some other slogans found therein.) But like... going back, and looking at them... "The favored march up over the hill In some fools parade Shouting 'Victory for the righteous!' ...But there ain't much here but graves" ....isn't that.... is that not wh--guys, I have chills--is that not what you want every single fucking line in every anti-war protest song you've ever HEARD to be??? God. It smacks me. It absolutely smacks me. It's just -- it flows perfectly, setting up... Jesus, guys, the fucking favored. I'll come back to that. But it flows perfectly, setting up this image of grand, feel-good nationalism, yet with an edge that makes it clear it's criticizing it from outside, not taking part... yet still existing kind of within that atmosphere, on the surface... yet then, it just SMACKS you with "There ain't much here but graves." Desolate. Hollow. There is no victory. There are righteous. There ain't much, but graves. Completely fucking undercuts -- I mean, Jesus, talk about some fucking juxtaposition -- completely undercuts it and just SMACKS you with desolation, loss, and grief. And -- I mean -- the favored. I love it. It just -- that one word, how on Earth is Bruce's word choice so fucking great, that ONE world tells you everything. That there's people in power handing out preferential treatment, people receiving it and thus spreading the message... and therefore... unfavored, on the outs... and now, I just thought of a different line, and it makes me want to cry. I mean -- like -- okay. Okay. If you want to talk about the best lyrics to open any Springsteen song... I'm not saying these ARE the best, but I'll sure as shit say they're up there: "The speculators made their money On the blood you shed..." ..... .... "The speculators made their money on the blood you shed." This is the PERFECT protest song. Fuck. I mean -- I could go on - PLEASE, someone, can we go through this line by FUCKing line? Please. But like, I mean I'm not even analyzing here, I'm just euphoric over how goddamn great the song IS. It's just -- every fucking line feels so economic, yet so heartfelt, just packs such a perfect amount of visceral, biting PUNCH. I don't know, I'm so fucking in love with the poetry on this song, you guys. Musically I mean the main thing I will say is THE HARMONICA. That harmonica is HAUNTING. This is a very, very, very good song. And I know I'm not making a lot of POINTS here, I'm just saying at you how good the song is over and over, since, frankly, I'm too tired for logical analysis, but I'm very here for just "This song is so GOODDDDDDD" which this one IS. These LYRICS, dude, holy shit. Okay. Taking a deep breath and HALF-trying to collect myself, there's one salient point I WILL make about this song. It's one I only realized for the first time recently, within the past couple weeks. It's the type of thing that legit makes Magic approach my all-time top 4 Springsteen albums. It makes this song--which, as you can tell, I already LOVED -- takes it, and makes it SO much better than it already was. Listen to this. "Sister Mary sits with your colors Brother Johnny's drunk and gone..." "We pulled your cycle up back the garage, and polished up the chrome Our gypsy biker's comin' home..." If you look at, in between the political statements, some of the IMAGERY of this song.... doesn't this... doesn't this kind of sound like a Greetings song? To me... it honestly does. "Sister Mary." "Brother Johnny, drunk" - as the nuns run bald through Vatican halls, or as the sister breaks down in the chapel after everyone's gone... These are total 1973 Springsteen characters. The imagery of the titular "gypsy biker" -- that doesn't sound like a Magic story to me. That doesn't sound like a Rising story, or even as far back as a Born in the USA or Darkness on the Edge of Town story. To me, it sounds straight up like something out of "The Angel". A ton of the imagery here fits with "The Angel", "Lost in the Flood", "Incident on 57th Street"... more than almost ANY other song he'd done since then. There's, you know, there's a very specific type of songwriting Bruce does, a certain type of storytelling with certain "sorts" of character names, that's reaaaally confined to those first two albums, and that he doesn't play around with much at ALL after that. I feel like the songs off the two '73 albums have a very distinct personality to them and their wording that you simply don't get anywhere else in the canon... until, I would argue, this song. Tell me the "Gypsy Biker", hanging out in the past with a now-mourning "Brother Johnny, drunk and gone", tell me a grieving "Sister Mary", and polishing up the chrome -- tell me those don't sound like 1973 characters. And with the strong, STRONG focus on the harmonica.... not that he stopped using it early on, but I feel like it's prominent here in a way you only get on some of the Greetings songs or outtakes from that era. So overall, I feel like, honestly, if you take this song... I don't think you have to tweak much about it at all for it to, at its core, feel riiiight at home next to "For You" and "Does This Bus Stop at 82nd Street?", as long as "Lost in the Flood" is still there somewhere next to it. Like, strip away the band work, and you can pretty much swap this song in for "Mary Queen of Arkansas" while leaving Greetings kind of unchanged. And... that... is... ASTOUNDING??? I don't know, man -- I'm all for meta shit, and I'm all for continuity. And even aside from those individual particularities about me... like... I just feel like there is something so, so beautiful and EXCITING about that, that drives home the continuity of the whole thing, of Bruce's career, and of him himself as a human being. Like the idea that he sat down, THIRTY-FIVE YEARS later, and was like, "You know what? ...I'm gonna dial it way back, and I'm gonna write the E Street Band version of a Greetings song." -- not that I think that was his intention, but still, it's what came out... there's something so fucking beautiful and profound to that that imbues this song with thirty-five years of history and collective power even BEYOND that which was already there and, now that I think about it, yeah this is easily my #2 Magic song and possibly a top 20 Springsteen song of all time. I mean once you throw in that meta angle, it's... it's too perfect to resist. This song places Magic so much further in the Springsteen canon than it already belonged, by instilling in the album a direct lifeline to his very earliest material, to a degree that -- I don't know, maybe it's just me. Maybe polishing off the chrome with Sister Mary doesn't sound too much like a Greetings story to other people. But to me, it does, and that is fucking astounding. It takes a song I already adored and adds exponentially more power. Listen to this song as a Greetings-esque song on Magic and I think you will come away loving it even more on an entirely different level than you'd considered it before -- or at least that's what's happened to me, and it somehow elevates a flawless Springsteen track even higher. And this makes Magic an even better album. To diverge slightly, I feel like the release of Western Stars has only made Magic even better retroactively than it already was: there's that whole 60s-country-pop-inspired tinge to some of Bruce's recent, big, melodic work -- in songs like "This Life", "Kingdom of Days", "Breakaway"... he experimented with it on the '09 and '10 releases, and then Western Stars as a whole basically embodied it. And I feel like the FIRST time you really get that is on a couple of the Magic tracks: "Your Own Worst Enemy", "I'll Work For Your Love", and "Girls in Their Summer Clothes". Those songs directly pave the way, IMO, for some of the Working on a Dream tracks and touch-ups of The Promise, which in turn are a stepping stone towards Western Stars. There's a whole ""type"" of Springsteen song in the newer years, a whole subset of his work, that I think REALLY starts on Magic, making it a very, VERY pivotal album for his development as an artist. ...And yet, in the midst of it all, you've also got this. This modern classic, this absolute shining gem that feels like a relic of a bygone era, a 1973 Springsteen track released in 2007. That is absolutely astounding. This is a great great great great great great great great great great great great great great great great great great great great great great great great great great great great GREATTTTTT Springsteen song, that I found bizarrely easy to overlook on my first passes through the album, but that has grown on me SO massively in the time since then to where I wonder how I ever missed it. This is a fantastic one. This is one of the best. It is just so goddamn effective at being the evocative thing it is trying to be. A high point of one of his greatest albums. Thank you for giving me a reason to think about it tonight. Time to go listen to it for time #151.
  3. Besides "All of them"!!! Which one improves the most from hearing it in that format vs. on a streaming service or CD? I am a MILLENNIAL born in NINETEEN NINETY-FIVE and so, since I've gotten into Bruuuuuce in '09, it's taken the form of CDs and .mp3 files. I've never listened to a Springsteen album on vinyl (or any other album, for that matter), 'cuz I never had a record player. But my sister's boyfriend just moved in, and he has one, so! I must now ask. Are there any Bruuuuce albums that sound particularly better in that format? I think I've heard people say that Magic does, that it brings out the percussion better or something and does away with some of the kind of "noise"-y production and adds a clarity to it. My gut feeling is Born to Run might be better on vinyl, too. I do already own Tunnel of Love and Born to Run on vinyl, tho idk where the latter is offhand, but haven't listened to either one yet.
  4. Found it from an old thread on r/ObscureMedia, though it's got over 1m views on YouTube now so your mileage may vary on how obscure that is... yet it's still rather unexplained: Here's what's unexplained about it. A music video of "The Rising", attributed to Bruce Springsteen, and with copyright credit to Sony Music, has been shown twice on the Australian Broadcasting Corporation's music video programme rage. The first airing was on 20 December 2003[4] and the second was on 28 February 2017. However, the authenticity of this music video is disputed, as no other sources have been yet found to establish whether this music video was an official Sony release (but not widely aired), an official music video that remains unreleased but for reasons unknown was broadcast unauthorised, or a music video created by an unauthorised party without Springsteen's or Sony's sanction, but which managed to defeat normal licensing and authenticity checks and was broadcast on one of Australia's national television networks. The video that was broadcast[5] is made in hand-held home-movie style, with highly exaggerated film grain added throughout the clip. It shows Springsteen driving in the rain through the countryside, rehearsal shots inside the Southern Tracks recording studio in Atlanta, Georgia (USA), images of Springsteen strumming a guitar in an empty house, and a variety of other imagery related to the lyrics in the song. There is no lip synching in the video. The audio recording on this video is an edit of the album version of the song, and is shorter by 20 seconds. So what's the deal here? Was it officially made and officially released, only to inexplicably be aired only twice on an Australian program, one time being fifteen years after the song's release? If this was officially released, why did it only have ONE airing for years and years? Was it officially MADE, but then never officially released - but then inexplicably leaked to the ABC's program? Is it, in that respect, the music video equivalent of a Lost Masters bootleg track? Or if it's entirely unauthorized, how did it end up on that show.... and remain in their vault long enough to be aired again thirteen years after its debut? What's the deal here? Any information, or any baseless guesses?
  5. I'm just going to shamelessly bump this thread, because I'm listening to the song for the umpteenth time,and "Baby, this emptiness has already been judged" is one of the all-time great Springsteen lines. Paints a beautiful, tragic picture of someone judged for the symptoms of mental illness by those who don't understand, or choose not to.
  6. @MacBruce "Surprise, Surprise" was not on the list, I don't think?; I appreciate your takes, though!!
  7. I have never listened to the Pointer Sisters version of the song, and I have no particular desire to, as I don't care for the song and am unfamiliar with their work, so I've got little desire to check out an alternate version of a song I dislike. That said, I would have a problem with it sung by a woman, too. Whether it was a hit and my problems with it are irrelevant. I certainly agree that what you describe is Bruce's intention and is what the song is TRYING to convey. I think that's what it's SUPPOSED to be about. For me, though, I do not think it hits the mark, and I do not think it gets there. We lack absolutely any of the woman's perspective in the song, so we're left solely with a man (of course in the PS version the genders could be swapped) seeing her saying no and, given that we have no evidence or storytelling or imagery to the contrary, assuming the "no" means "yes". I agree the song is trying to do what you describe. From my perspective, it fails, and it is a dangerous failure, and it is a song I absolutely hate and never listen to. Dead last in the entire Springsteen canon in my book, out of every song he's done. Some good picks overall!, but these two surprise me, and I'd be interested in your elaboration. Good pick of a lousy song. This might be the one Springsteen song I dislike even more than "Fire"; I just tend to forget it, because it was never officially released. At best it's bottom two. Very weird and not in a good way, I just think it's profoundly idiotic
  8. I do not think it is "pervy". I do think that it SOUNDS that way in a way that makes me personally as a listener uncomfortable, and so I don't like it. I would have said it was prior to whoever's comment in another thread clarifying "bad desire" for me. I don't like the song. But then, I don't like it musically anyway. English is my first language, I'm 24. I do have a friend who calls her boyfriend "daddy" which also kind of plays into part of their dynamic and individual kink. "Daddy" is becoming more sexualized again among younger people in recent years I think, even to the point of kind of being a meme. Personally I would never use "Daddy" as a sexual thing because like ew. I don't get it. But it's a thing. I do not know anyone who uses "little girl". I am sure it was a thing in music at the time probably, since enough people who would know better have said to me that it was, so. Male. The poll should ideally be inclusive of respondents who are neither male nor female!!
  9. I want anyone reading this to tell me their thoughts on whether, to what extent, and how "Girls In Their Summer Clothes" fits thematically into the rest of Magic RIGHT NOW. I have my opinions, but what are yours?
  10. Magic is already my 5th-favorite Springsteen album, and it has been for years, but I'm starting to think -- and this is a scalding hot take here -- that maybe, MAYBE, it might deserve to rank even higher at #4, above even The Wild, The Innocent & The E Street Shuffle. (My top three of BTR>Darkness>TOL shows no signs of changing.) WIESS is amazing and legendary... but man. What's getting me tonight is, after listening to bits of Western Stars -- that album has made Magic even better, by really cementing its position as a game-changer in the history of the canon and a huge turning point in his development as an artist. Among the MANY other great things about that album, you just don't get to any of the Western Stars material without "Girls in Their Summer Clothes", "Your Own Worst Enemy", and, arguably, "I'll Work For Your Love".
  11. 5. Bobby Jean [Born in the USA, 1984] Man, how and why is this song polarizing on this forum?? Is it just because he's played it live so much? If so, I guess that makes sense, but I dunno, I love this one. I'm honestly not a big fan of Born in the USA in general; I like it, overall, but I'd rank it #16 out of the 20 Springsteen albums (yes, The Promise counts as an album... and if we toss the Ties That Bind: Outtakes disc in as an album, too, BitUSA would be my 17 out of 21.) It's not bad, but it's basically split straight down the middle between songs I care about and songs I don't -- and Bobby Jean has always been in the former category for me, and is a big standout off the album. I mean, I don't have a ton to say about it; I just think it's really, REALLY well-executed pop rock. It is what it is, and it's straightforward, but damn does it hit me in the exact right place. There's something innately kind of nostalgic about the way this song sounds that takes me back to a time before I was even around, every time. I don't know what it is, but I have a specific image in my head for this song of a chill, decades-old bar, I picture it like every time I hear this song. Total 80s pop-rock nostalgia played in the absolute best way. It's produced super fucking well, sounds incredibly nice, immediately memorable and lovable keyboard... I'm just now reminded that this song and "No Surrender" somehow WEREN'T singles, which absolutely baffles me. Not that Born in the USA needed another hit, but everything about this screams radio hit. Musically it's like you took all the best stuff about "Hungry Heart" but made it more wistful and way better. Plus, it even has a sax solo. A lot of Born in the USA tracks are so glossy and shiny and poppy that I'm still, to this day, surprised when the saxophone hits and reminds me they're still a true E Street Band song. Lyrically, this song's always been a pretty sad one to me. Back in the day it hit me harder than a lot of other Springsteen songs, but that's also before I got versed enough in the canon and mature enough in the canon to start knowing "Okay, he has a song with the lyric 'The turtles eat the flesh from your eyes' - nothing else is allowed to be the saddest Springsteen song, really" or start appreciating songs like "Paradise". But still, there's something very relatably sad about this one; one of my favorite songs by another artist (a very underrated one y'all should check out) named Butch Walker is a song called "Coming Home". The song contains a lyric, "I never got to make up with Lisa", that's delivered in a relatively light-hearted way in a happy song; that line has always stuck with me, since its placement in a happy song suggests that the singer didn't get to make up with or come to terms with everyone from his past he might have like to -- but has come to terms with that fact in itself. Things like that, anything centered around a lack of closure, tends to hit me pretty hard. And this song is completely about a lack of closure. Despite all the pop appeal, the central story it's telling IS a pretty genuinely sad one of heartbreak -- one that gets into the way the narrator became very close to someone else on a personal level, that tells you that pretty fully, but does so only to contextualize how sad it is when things then fall apart, when their friendship disintegrates... and how all he wishes is that he had a chance to say goodbye. It's not like the whole song bums me out, but the last "Just to say I miss you, baby... Good luck, goodbye..." -- that part, where the vocals drop down a bit and he delivers a simple, sincere, light-hearted sentiment of accepting, but still not wanting to accept, this person's abrupt departure from his life, expressing a simple idea that he still wishes them the best and will miss them, knowing it's the last time he'll ever get to do so, and that he won't even know if the message will connect... man, put yourself in those shoes. It doesn't even have to be about someone who left, the way the song itself is; it can be about someone who went missing, about someone who died. Wishing a simple, sad farewell of "Good luck, goodbye..." that you don't even know if they'll ever receive, because that's the most you have at that point, yet you still care enough to want to send out something -- and the way that sending out something positive underscores that there's more left unsaid, more he still wants to do with them... -- that is some sad stuff. It's an immediately catchy, instantly likable pop-rock staple that sticks with me very, very quickly, yet it tells a sad, but still common enough and relatable (which makes it, in some ways, all the sadder to the listener), story of growing apart from someone, missing them, and having to move on from the hurt enough to wish them the best, while still having not quite moved on from them at all. That is some sad stuff, some great songwriting, and deserves to be a more highly-regarded song than it is on this forum. I am a huge "Bobby Jean" fan, and getting to hear it live and having it be all I hoped it would be is one of the many reasons 8/28/16 was THE DREAM SETLIST for me and my favorite show I've attended (stay tuned for a long post on THAT one of these years). But... "Backstreets", "How Can I Keep From Singing?", "Streets of Fire", and "Tunnel of Love" are even better. I very nearly put it #4, but I think I like the next song on the list just a bit better. How would you rank the top four, and why? Would you have BJ higher, or lower? Weigh in below, and stay tuned!
  12. Oh that's a very legit pick. That song is definitely weirdly possessive, but I kind of love it for that..? I feel like it's intentionally written to be dark. I don't know. Oh I didn't read that much into it at all. I mean, she even said the artist in her got it and respected it. I just took the remark as joking on a pretty simple level. I've not seen the movie, but if it didn't fit well, I imagine it's just because the song had been leaked recently, so they may as well get it out there and profit off of it, and because it was intended for some movie to begin with, so it's a straightforward thing to draw on if they wanna pad out the soundtrack with a new song. I bet if it weren't written for a movie, and especially if it hadn't leaked a couple months back anyway, they wouldn't have included it. That is fair! I admit that prior to this thread, I hadn't even considered "bad desire" in the sense of, I don't know, "I got a bad craving for sushi tonight" or "I want you so badly." Coming right after "daddy" and "little girl", it.... always was a rather hard lyric for me to write off, since I didn't really get what else he was going for. But yeah, considering other uses of "bad", that makes sense. I think "bad desire", and maybe mixing it up with "Fire" (having not listened to either one in a long time), a song I'd much more confidently criticize, is what compelled me to call it "problematic", but I'd maybe walk back on that now (not on "Fire", though!); however, I'd still say that to me, to my ear personally, it isn't enjoyable to listen to. Regardless, I already mostly dislike that song for musical reasons, anyway. I just don't enjoy it and think it's rather boring. I usually am willing and able to write off "Daddy" (I mean, that word's become even MORE sexualized in recent years, if anything, lol) and "little girl" as things that sound weird to me but that I can't say I personally mind. Like "Seaside Bar Song" is still a great song and I'm not really taken out of it by the "daddy". I'm a little taken out of "Rosalita (Come Out Tonight)" when I hear "soft, sweet, little girl's tongue", but I again recognize it as a phrase that was jsut more common in songs >46 years ago. Etc. Same for "I Wanna Marry You". Rosie, of course, being a far better song than IWMY. So in those instances I'm able to focus on the rest of the song. The 1-2-3 punch of "bad desire" AND "daddy" AND "little girl" in short succession make me more averse to "I'm On Fire" -- but -- you're right to say that that doesn't make the song in itself bad, and it's a song I'd already not care for anyway.
  13. Thank you very much!! Yes, the principle is the main thing I'm going for here. If people agree with my takes, awesome! If they disagree, even better! -- this is of course not some objective or definitive ranking... just my own personal preferences, as a springboard for other people to share their own. Per your request, I've slowed it down a bit. That's very fair. I first posted this on my FB, intending to finish in one night, but then, inevitably, I got very into it and started writing much more about the songs... I'd be interested in hearing these! I've spent very little time with the song and never heard either live version. If anyone's genderfluid, it's Bobby Jean. Stay tuned for that write-up. My take has always been that Bobby Jean herself, the character, is a woman, even though the song itself is clearly written about and addressed to SVZ, a man. Like I know in the real world, the song is about a man, but in-universe, I always hear it as being about a woman. Glad you agree and were digging MP! That said, I don't think you should let all of WS be ruined for you by that; check out "Stones" and "Drive Fast (The Stuntman)" in isolation! Good stuff! That's an interesting perspective that I definitely appreciate! I honestly haven't spent much time with the album as a WHOLE, like I haven't paid attention to any of the connections between the songs, which are of course what make every Bruce album its best. I haven't checked out the new movie, either. I'll have to get on that, and who knows, maybe I'll come around on HH once I can get an idea what it's trying to say.