CrushOnOutlawPete

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About CrushOnOutlawPete

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    The end of the alley...
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  • Springsteen fan since?
    2009.

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  1. See title. So at, like, 2:26 in "Wages of Sin" (a great outtake that you might not have listened to in a little too long, by the way; you're welcome for the reminder if so), there's this little.. pause. This little skip in the vocal track. Y'all might know what I mean. It's after "All the sounds I heard" and before "they weren't real." Without paying too close of attention to the surrounding lyrics, I always heard heard this as "Baby, all the sounds I heard.. baby, they weren't real" -- but with a little nervous stammer -- a hesitation on the "baby" that was so, SO perfect for the doubt and bleak atmosphere of the whole song, and the uncertainty of that hallucinatory line in itself. I never thought too hard about what it was but always just took it as a little breathless, choked-up hesitation that was a perfect touch. But listening with headphones today, I realized that it cut out super abruptly, and was trying to tell what to make of it. Listening to the Turku performance, there's nothing like that, though I'd expect not in a live show anyway. Lyric sites seem to make it out to be "All the sounds I heard, even if they weren't real", but it didn't sound like that to me. So I was gonna ask -- what gives? Is it an intentional stammer, a random skip on "even if", what's that part meant to be? Now, after close listening, it sounds more like "Baby, all the sounds I heard, (baby)/(maybe) they weren't real", with a little cut in the middle -- but if that cut weren't there, if the two parts of the word were joined together, sounds like it'd be nearly seamless. So I guess I solved my mystery, and it's probably just a half-second audio skip, due to being an old, old, old-ass obscure master dug up years later. But! What do you all think -- do you agree that it's just a random little audio skip, and if so, do you think it was probably just an accidental result of the old master? Or any chance that it is in fact a stutter or an intentional touch? And, additional question - anyone else here ever notice this before and think it makes the song better, as I have/do?
  2. I just want to say that I love how, before even clicking to see who "Bruuuuuce" reacted this comment, I knew it'd be @Daisey Jeep. ....bruuuuuuuce
  3. I choose to believe that The Stuntman and his lover break up after the song -- the final example of him driving fast, falling hard. Man, I feel like with a little more, that song could have been a total 10/10, all-time, slam-dunk Springsteen song. It reminds me of some of the more melodic River songs. Of course, as is, it's still like at least an 8.8/10 or something, great song.
  4. I will say that I do find some of the lyrics I've heard rather lacking. "Don't worry 'bout tomorrow" is in a friggin' AC/DC song of all things, "Sunrise, sundown" is pretty bland and routine, "Bills and kids and kids and bills" does nothing for me, and while "The Stuntman" is my favorite off the album so far, the little "that she made" strikes me as weak -- like why bother pausing to punctuate it if that's gonna be the next word. Total nitpicking there, but.. ...that said, this is just a handful of lyrics, and Googling to confirm which song had the bills & kids bit is turning up, at a glance, some great lines in between that I didn't even notice yet. So I'll need to give the album a proper, lyrics-in-front-of-me run-through before trying to assess this. And of course it might be inevitable that the simplest lyrics are the ones that are gonna stick in my mind immediately upon release. Current play counts in my library: Hitch Hikin': 3 The Wayfarer: 3 Tucson Train: 4 Western Stars: 4 Sleepy Joe's Cafe: 5 Drive Fast (The Stuntman): 12 Chasin' Wild Horses: 12 Sundown: 12 Somewhere North of Nashville: 6 Stones: 10 There Goes My Miracle: 11 Hello Sunshine: 8 (1 of which was pre-album release) Moonlight Motel: 5
  5. My current gut feeling is that this'll rank around ~14th for me. I do like it: it has some very catchy melodies that have already quickly burnt themselves into my head, and the overall product is a pretty nice, interesting direction artistically. However, I don't think it hits as high a high anywhere as most Bruce albums do. Of course, it only just came out, so it'll take more listens for it to settle. I'll also need to take in and connect with what it's going for specifically, and certainly spend more time with the lyrics, which I've barely touched. But that's how I feel right now.
  6. My gut feeling is that this album's not gonna crack even my top 12 or 13 (though I have spent almost no time with the lyrics, which are of course gonna make a huge difference)... but... I gotta admit, "Stones", "There Goes My Miracle", and "Chasin' Wild Horses" have all spent time running through my head in the ~24 hours since I've first heard them -- and none of those are even in my top three off the album (that'd be "Western Stars", "Drive Fast (The Stuntman)", and "Sundown" - so far.) So it's certainly earning its position in the canon for me.
  7. The Promise has similar elements, too. Of course all the songs were written decades earlier, and lots of the elements come from those earlier years -- and he claims he did nothing with the songs he wouldn't have done back in '78... -- but still, stuff like Breakaway and Someday (We'll Be Together) totally fits between WOAD and this album.
  8. As my username indicates, I do rather like WOAD! I probably like it more than this one, at least so far. That said, this album's certainly got a more unified sound overall. I enjoy WOAD, but it's kinda wacky and all over the place. And it has a couple tracks that are outright silly. I don't mind any of them, but that's definitely a difference between that one and this one.
  9. Oh fuck whichever of y'all I saw praising Stones were right. This is good stuff. Aaaaaah a good new Springsteen album in 2019 happy day
  10. Alright, so, with the obvious, massive caveat that these are totally subject to change, and I've only heard each of these songs once ("Hello Sunshine" twice since it was the first one released), and that these are just first impressions... my FIRST IMPRESSIONS!! are: (I'm basically just transcribing my as-i-was-listening notes) 1) HITCH HIKIN': This had a kinda softer sound than I expected, but more... abrasive(?) vocals. The vocals honestly hurt this one for me, I very quickly disliked them and after finishing the album they're still my least favorite anywhere on the record. Also, for stupid reasons, I can tend to react kinda negatively to when Bruce goes SUPER hard into, like, stereotypical-Springsteen-y total blue-collar-sound mode -- and this song is, like, that, 110%, right out of the gates. The soft instrumental stuff was nice, but not super impressive or interesting, and it didn't fit the vocals. The lyrics that I heard were just okay, though there's probably more to explore -- but this def didn't make a great first impression on me. After hearing "Hello Sunshine" and this, my concern was, like -- is this album just Bruce tossing in string arrangements because he *wants* to, and is it gonna play awkwardly as a result? Or does the album actually *earn* it? Eventually, the album came to earn it more. 2) THE WAYFARER: Right away, the basic little melody of the strings made them feel more purposeful. I liked the vocals riiight away, it was a more familiar cadence for him to be singing in that made it sound more authentic and like I was listening to The Rising or something else familiar. The line "same sad story" immediately reminded me of "One Step Up" which is of course a nice thing to be reminded of. Liked a little tiny guitar bit at the start of the chorus. Some of the bigger, more lush string parts still felt a little unearned -- tho when they went along with the drums it was nice -- but the little ones felt purposeful. Right as I was thinking this song felt a little more disjointed, it had some extra backing vocals and an organ, which just felt.. well, extra -- like kinda trying to replicate MCOR, obviously not getting there, and not being BAD, but just being a little awkward? Initial take: definitely better than Hitch Hikin', more fun, some parts felt more purposeful, but some felt a little disjointed. But it definitely at least had more replay value and made me curious how I'll feel about it on future listens. Also as a random side, there was a melody on the strings here that kinda reminded me of "Easy Money", I'll need to see if that holds. 3) TUSCON TRAIN: Right away this reminded me of "Queen of the Supermarket"'s instrumentation, in a good way. The strings felt more purposeful here than in the previous two tracks, and I think that might be because it *started* with them, so it didn't feel abrupt, it introduced itself to me on that level. The vocals could have been a little better but the kinda echo-y reverb thing going on with them was a nice touch. On some lyric when he said "I left a good thing" there was an element I liked, no idea what this is referring to now, but I wrote it down at the time. Some of the lyrics seemed good here, which made me think of the obvious disclaimer that this has been promoted as a reaaally narrative-based, character-driven album and I was barely paying attention to the lyrics on this first pass so obv I'm missing a bunch. Overall this was better than HH, more purposeful/seamless than Wayfarer, but also was one of the first ones that I pretty much forgot. 4) WESTERN STARS: Immediately, this one felt... properly stated: the string stuff didn't feel overstated like on parts of Wayfarer, but it's not like it just lacked it outright and so avoided falling into a pitfall by not including it at all -- it was just the right amount. The percussion kicking in on the second verse was nice, that verse gave me "Racing in the Street" vibes actually, especially w/ the subject matter of the lyrics. Little piano bit that I liked somewhere around there. The song continued to develop at a nice pace -- grow, but grow naturally, not abruptly like parts of Wayfarer -- and soon I found myself not even minding how stereotypical some of the lyrics kinda felt. Then it started to truly give me the Glen Campbell vibes I was hoping for from this album -- it got huge and swelling on the last part but built up to it more naturally -- and I was sold. I mean I have said many times that I wish we had more big string stuff going on in popular songs these days, and this song finally did that in a way that felt earned. It sounded.. exactly how I was hoping for this title track to sound, actually? I was def impressed, enjoyed this one, and felt much, much better about the album here; each track was better than the one before it and this was by far the best up to this point. 5) SLEEPY JOE'S CAFE: Instantly wrote "haha wow this song is decidedly less sleepy than expected." I was very surprised. As another little aside, for some reason I kinda feel like Weird Al could parody this song, the melody fits him and even some of the lyrical structure. Anyways, this was a very fun song -- plus -- ACCORDION! Nice! 6) DRIVE FAST (THE STUNTMAN): Very, very immediately loved the first lyrics. After that "Drive fast, fall hard" is a great line that took it in a direction I wasn't totally expecting -- like I knew the song was gonna take a dark turn but didn't think it'd be that kinda gradual, philosophical one. For the first track or two, I might have expected the orchestration to undercut a song like this, but it ultimately didn't at all. I loved the titular line, I really dug a little line about making the broken pieces fit, and then the piano part was beauuuutiful and simultaneously reminded me of some other song I couldn't place while also SOUNDING totally new as a Bruce sound in itself. Overall this was definitely a big favorite. 7) CHASIN' WILD HORSES: My focus kinda faded here because I was walking home on like 1% battery worried I wouldn't get through the end of the song, so I need to relisten, but it sounded further Glen Campbell-y and olidly adequate. It exceeded my expectations from the title/length. And I paused for a little after this song and found its chorus staying with me a little bit. 8) SUNDOWN - I paused before this one for a little bit, so right away it hit me with this power that I dug. Had a nice sound, had the right amount of grandure and power and scale without feeling like Too Much. Lyrics seemed like they could be strong on a further listen. As it went along I just reaaaaally loved the way this song had this big power to it while still not overdoing it, that was my fav thing about it, it felt very natural, and it sounded kinad like hwat WOAD should've been only with more going on instrumentally. Pretty soon felt like while this probably won't be my #1 favorite ultimately, upon repeated listens, it might be my favorite of the first listen. 9) SOMEWHERE NORTH OF NASHVILLE - This is alright. Not as good as I hoped for, not as forgettable as I feared. 10) STONES - I dug some of the lyrics and imagery, like Sundown it felt more natural than some of the earliest songs, had some nicemelodies. 11) THERE GOES MY MIRACLE - Not a ton done wrong or especailly right on this one; it was adequate. Works as a summer song. I expected more from the title, I think, but it wasn't bad. 12) HELLO SUNSHINE - Had heard this one before, and my first thought at the time was that I liked it, there was nothing wrong with it, but I wasn't fully sold on the string approach for the album or whether it added much, and I still kind of feel like that; however, it also doesnt' sound as disjointed as like The Wayfarer, it still blends in more or less, and I like the autobiographical lyric about going down emptry streets. It's an interesting pick as a lead single, since there's so many more standout songs on the album, yet it's also fairly representative and stands alone so I guess it makes sense. 13) MOONLIGHT MOTEL - I didn't put any notes for this one; fuck! I mostly remember thinking it was a nice enough slow, stripped-down closing track, which is the kind of Bruce song that could totally grow on me over time perhaps, but this one's not quite there yet, but I was okay with it. FIRST IMPRESSION RANKING: 1) Sundown 2) Western Stars 3) Drive Fast (The Stuntman) 4) Sleepy Joe's Cafe 5) Stones 6) Hello Sunshine 7) Chasin' Wild Horses 8) There Goes My Miracle 9) Moonlight Motel 10) Tuscon Train 11) The Wayfarer 12) Somewhere North of Nashville 13) Hitch Hikin'
  11. Having only listened once, my favorite was "Sundown", but I bet it's gonna be "Drive Fast (The Stuntman)" or "Western Stars" upon further listens. We'll see!
  12. Is this the thread where I started and didn't finish a ranking of songs he didn't do live? And of closing tracks? I gotta finish those some day
  13. "Meet Me in the City", so of course I knew it was coming -- but fuck, what a great one to be first! Confined to that tour so it ties in nicely with the knowledge of when I was seeing him -- and, I mean, it's a song about... meeting him in the city, which I was doing!
  14. I'm so confused! I thought it was released tomorrow, and I came online to join the pre-hype -- but now people are already discussing it? What's the deal! I want to listen when it officially releases... but... a hot-off-the-presses Paolo review is so tempting... (also hi, Lakers! haven't been here in some time!)
  15. Whether it's a Born in the U.S.A. box set or Tracks 2... PROTECTION AND UNSATISIFED HEART OR BUST!!!!!! Sir, I am a pilgrim....