The wild innocent e street shuffle5/15/2023 Note: When you embed the widget in your site, it will match your site's styles (CSS). 7 songs 46 minutes The Wild, the Innocent & the E Street Shuffle is the second studio album by American rock singer-songwriter Bruce Springsteen. Get the embed code Bruce Springsteen - The Wild, the Innocent & the E Street Shuffle Album Lyrics1.4th Of July, Asbury Park (Sandy)2.Incident On 57th Street3.Kitty's Back4.Kitty’s Back5.New York City Serenade6.Rosalita (Come Out Tonight)7.The E Street Shuffle8.Wild Billy's Circus Story9.Wild Billy’s Circus StoryBruce Springsteen Lyrics provided by it's a club where all the riot squad goes when they're cashin' in for a cheap hustle,īut them boys are still on the corner loose and doin' that lazy e street shuffle,Īs them sweet summer nights turn into summer dreams little angel picks up power and he slips on his jeans as they move on out down to the scene Sparks fly on e street when the boy-prophets walk it handsome and hot,Īll them little girls' souls grow weak when the manchild gives them a double shot, Little angel says, "oh, everybody form a line. She's deaf in combat down on lover's lane Little angel steps the shuffle like she ain't got no brains, The newsboys say the heat's been bad since power thirteen gave a trooper all he had in a summer scuffle,Īnd power's girl, little angel, been on the corner keepin' those crazy boys out of trouble, Now those e street brats in twilight duel flashlight phantoms in full star stream,ĭown fire trails on silver nights with blonde girls pledged sweet sixteen, Little kids down there either dancin' or hooked up in a scuffle,ĭressed in snake-skin suits packed with detroit muscle Music The Wild, the Innocent & the E Street Shuffle By Ken Emerson JanuGreetings From Asbury Park, Bruce Springsteen ’s uproarious debut album, sounded like Subterranean Homesick. The teenage tramps in skin-tight pants do the e street dance and everything's alright, The schoolboy pops pull out all the stops on a friday night, Instead he milks it for all it’s worth, wrapping up all the song’s movements and juxtapositions with his unabashedly melodramatic and loonily sotted Sloppy Joe voice.Sparks fly on e street when the boy prophets walk it handsome and hot,Īll the little girls' souls grow weak when the manchild gives them a double shot, Springsteen never resolves the conflict (if he ever does his music will probably become less interesting). There is an occasional weak spot or an awkward transition, but for the most part it works spectacularly, and nowhere to more dramatic effect than on “Incident on 57th Street,” the album’s most stunning track, a virtual mini-opera about Johnny, a “romantic young boy” torn between Jane and the bright knives out on the street. The best of his new songs dart and swoop from tempo to tempo and from genre to genre, from hell-bent-for-leather rock to luscious schmaltz to what is almost recitative. Springsteen is growing as a writer of music as well as of words. Springsteen himself is an undistinguished but extremely versatile guitarist, which he needs to be to follow his own changes. They’re essentially an R&B outfit - funkybutt is Springsteen’s musical pied-a-terre - but they can play anything thrown at them, be it jazz or Highway 61 Revisited. Sancious on keyboards and Clarence Clemmons on saxes, cook with power and precision, particularly on “Rosalita” and “Kitty’s Back,” the album’s outstanding rockers. Gwyneth Paltrow’s Daughter Said Actress in 'State of Shock' After Ski Crashīut none of this would matter if the music were humdrum - it isn’t. In the midst of a raucous celebration of desire, “Rosalita,” he can suddenly turn around and sing, “Some day we’ll look back on this and think we all seem funny.” They’re striking amalgams of romance and gritty realism: “And the boys from the casino dance with their shirts open like Latin lovers on the shore,/Chasin’ all those silly New York virgins by the score.” The loveliness of the first line, the punk savvy of the second, and the humor of the ensemble add up to Springsteen’s characteristic ambivalence and a complex appeal reminiscent of the Shangri-Las. Like Greetings, the new album is about the streets of New York and the tacky Jersey Shore, but the lyrics are no longer merely zany cut-ups. Having released two fine albums in less than a year, Springsteen is obviously a considerable new talent. The songs are longer, more ambitious and more romantic and yet, wonderfully, they lose little of Greetings’ rollicking rush. The Wild, the Innocent and the E Street Shuffle takes itself more seriously. Springsteen was rhyming and wailing for the sheer fun of it, and his manic exuberance more than canceled out his debts to Dylan, Van Morrison and the Band. Most of it didn’t make much sense, but that was the point. Greetings From Asbury Park, Bruce Springsteen’s uproarious debut album, sounded like “Subterranean Homesick Blues” played at 78, a typical five-minute track bursting with more words than this review.
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