Handwerkstatt art

great melodies he wanted, great production, great arrangements. he has managed, although it is not a big album.

to the typical pop productions of the sixties he wanted to build, so everything between Beatles and Motown. his new album sounds just as well, but it lacks the magic of these old recordings.

"Working on a Dream" is well thought out and well done, but it is not suffered, fought, he-lives. you hear these songs at every second that he did not have to make. they are pretty, but they lack any urgency. This album illustrates perfectly the downright so often discussed difference between art and craft. It is stylish, but soulless. which is therefore a shame because he used to be a master of soulful songs was - a real artist.

the sound is quite blatant "pop", light, floating, translucent (insofar as this album is about the opposite of a continuation of "magic" that rocked but violently). even where he themes of love vs. treated transience, it all sounds very harmless and inoffensive. he is still a great storyteller, but "outlaw pete" (a mini western with many Morricone quotes) or the droll "Queen of the Supermarket" are nicely told but frighten, surprise, no longer take. they do not even touch Yes. "Queen of the Supermarket" has occurred to him his own words, because he has a new supermarket liked it so much in his area. what's next? a song about a new fast food store, a new karrosseriespengler, a new post office?

gets to the end the album then more power when he exposes the Tom Waits suddenly in itself or catered to his late friend and organist Danny Federici recalls. that then the final song ("The Wrestler" from the eponymous film with Springsteen's friend Mickey Rourke), a quickly thrown sketch, the most lasting impression leaves, says it all: the number is not "well thought out and well-made" - but it is felt. This is the crucial difference.

to read your interviews to this album, you get the impression that Springsteen is currently intensively with the age, its mortality, which deals finiteness of life. and apparently reflexively back longs in a time in a location, when life was still new - in the familiar safety of the pops his childhood and youth days. the non-binding nature of this music is perhaps exactly what he wants now: not only to life, life is anyway lifelike enough.

why 3 stars, which is a clearly positive evaluation? because Springsteen on a little important album enough great moments houses because of its enormous talent to make others look much older than he is slowly but also looks now.

the additional DVD in this special edition contains some nice, but not overly important "making of" -like insights.

which I would have done it, a Springsteen rezi without the bland word "boss" to be written .... na go, now it's still happening.