Tanqueray&Wine

Members
  • Content Count

    159
  • Joined

  • Last visited

About Tanqueray&Wine

  • Rank
    Member

Profile Information

  • Location
    Sydney, AU
  • Gender
    Male
  • Springsteen fan since?
    1984
  • Does Mary's dress wave or sway?
    Sway
  • Interests
    Travel, Motorcycles, Travelling on motorcycles, Mountain biking, Aussie Rules
  • Sex?
    Greetings, The wild and the innocent, Wrecking ball

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. It's a rock song about a balladeer perhaps? I saw one definition of ballad as ' a slow sentimental or romantic song.' If it's based on tempo then is there a technical range ballads sit within? I admit it is hard to classify Jungleland as a ballad but as a third party narration it's hard to beat.
  2. I like the third party narration as a definition. It rings true (think the ballad of queenie and rover, ballad of a thin man, ballad of Billy the Kid). And it forced me to dig deep into the list of songs in which Springsteen sits outside and does not adopt a character within the narrative. Choices were thin on the ground in terms of ‘best’ so for some songs the narrator is present but purely as an observer Eg; Wreck on the Highway and Point Blank to a lesser extent. Jungleland Johnny 99 Incident on 57th street Lost in the flood Reason to Believe Point blank Wreck on the highway Wild Billy’s circus story Johnny bye bye Devil’s Arcade I thought about Kitty’s Back’s place on this list but it is just too funky to be called a ballad by any other definition. Jungleland gets a nod due to the epic nature of the story unfolding as told by an outsider looking in.
  3. Thanks Humph, that's an important distinction for baseball players who walk off if they get hit.
  4. The smartest opinion Bono ever expressed in relation to music was to name Because the Night “the song we wish we had written” when inviting Patti Smith and Springteen onto stage at Rock ‘n Roll Hall of Fame.
  5. If he'd only squeezed in "he could bowl that sandshoe crusher by you" it would have more sense down here.
  6. So here I go again with the Thunder road tetralogy. Maybe now a pentalogy? Firstly, Mary does get in. With the beauty and rising hope of that introduction how could she not? There was however, no happy ending. Together they take a stab at romance and pursue the dream with the only thing available to them: a car. Thunder road is full of the wild hope and enthusiasm of young people still believing the dream is within reach. Then the months and years of Racing in the Street, chipping away, race after race, getting nowhere near the promised place to where they originally set out to win. Enthusiasm is replaced by bitterness, as Mary returns to the safe life of a house in Fairview, our anti-hero simmers in the Darkness on the Edge of Town. It is a place where the dream is hung onto with desperation, haunted by the secret he can’t face and thinks Mary never had the passion to defy: that sometimes we don’t cut loose from the things that hold us in place and it is this that eventually drags us down. The time in the story when things fell apart between the two of them. Mary went home, the anti-hero continued on alone into the Darkness. Years later when the dream is dead and only bitterness remains, this failure is at the heart of The Promise that is broken. It’s why Mary left, to play it safe. Its why our anti-hero is working a job he hates, spending his time looking back at what could have been if only. Moonlight Motel could certainly connect to the first four, after the bitterness has faded but there is no sense of reunion, only reflection. The motel may have been a regular layover for the two of them as they travelled the circuit together and where Mary ushered the “whispered secret I promised I’d never tell.” But of course we look back to The Promise’ and we know he did, which is why we find him drinking shots alone in the car park of an abandoned Moonlight Motel. This goes to the heart of Springsteen’s philosophical evolution, from songs exalting the American dream to songs which realise the American dream is out of reach for many. Certainly for many of the characters he writes about. Some of whom come to reflect on the loss of hope whiles others are consumed by it.
  7. Sounds like a typical Friday night at my house.
  8. sorry, but I'm going 1 + 10 (Thunder road – Bruce) Deeper Water – Paul Kelly Bow River – Cold Chisel Over the hills and far away – Led Zeppelin The day I tried to live – Soundgarden Ace of Spades – Motorhead Gimme Shelter – The Rolling Stones Boom Boom – John Lee Hooker Mercy seat – Johnny Cash Man Overboard - Do-Re-Mi Velouria - The Pixies
  9. I think we agree it is a bloody good album. For mine Dry Lightning will go deep: from Youngstown, Straight Time, Ghost, Dry Lightning - but hey, that's what the poll is for right? Highway 29 is an interesting one. Good song but as the supposed final realisation of The Losin' Kind, I much prefer the Nebraska era outtake.
  10. I'll second this. Though it is such a balanced album, picking favourites is not an easy task. Love this album from start to finish.
  11. Might be way off mark here but I seem to recall Murder Incorporated was the working title of BITUSA right up until it was shelved from the album. Love the song, ripping raw power. The tempo of the song matches the narrative. It feels paranoid, holed up, edgy.