The Rising (CD - 2002)

Personnel includes: Bruce Springsteen (vocals, acoustic, electric, & baritone guitar, harmonica); Danny Federici (vocals, organ); Patty Scialfa (vocals); Nils Lofgren (electric & slide guitar, banjo, dobro, background vocals); Steven Van Zandt (electric guitar, mandolin, background vocals); Soozie Tyrell (violin, background vocals); Brendan O'Brien (hurdy gurdy, glockenspiel); Larry Lemaster, Jerry Flint, Jane Scarpantoni (cello); The Nashville String Machine (strings); Clarence Clemons (saxophone, background vocals); Roy Bittan (piano, Mellotron, Kurzwiel organ, pump organ, keyboards, synthesizer); Garry Tallent (bass); Max Weinberg (drums); Asif Ali Khan And Group.

Recorded at Southern Tracks Recording, Atlanta, Georgia; Thrill Hill Studios, New Jersey; The Sound Kitchen Recording Studios, Franklin, Tennessee.

THE RISING won the 2003 Grammy Award for Best Rock Album. "The Rising" won the 2003 Grammy Awards for Best Rock Song and Best Male Rock Vocal Performance.

THE RISING was nominated for the 2003 Grammy Award for Album Of The Year."The Rising" was nominated for the 2003 Grammy Award for Song Of The Year.

Personnel: Bruce Springsteen (vocals, guitar, acoustic guitar, baritone guitar, harmonica); Haji Nazir Afridi (vocals, tabla); Patti Scialfa, Asif Ali Khan (vocals); Nils Lofgren (electric guitar, slide guitar, dobro, banjo, background vocals); Steven Van Zandt (electric guitar, mandolin, background vocals); Brendan O'Brien (hurdy-gurdy, glockenspiel, bells); Soozie Tyrell (violin, background vocals); Connie Ellisor, Donald Clive Davidson, Mary Kathryn Vanosdale, Carl Gorodetzky, Pamela Sixfin, David Davidson , Lee Larrison, Alan Umstead, David Angell (violin); Jim Grosjean, Kris Wilkinson, Monisa Angell, Gary VanOsdale (viola); Jane Scarpantoni, Jere Flint (cello); Clarence Clemons (saxophone, background vocals); Jerry Vivino (tenor saxophone); Edward Manion (baritone saxophone); Michael Spengler, Mark Pender (trumpet); Richie Rosenberg (trombone); Roy Bittan (piano, organ, pump organ, Mellotron, keyboards, Kurzwell synthesizer); Danny Federici (organ, Farfisa); Max Weinberg (drums).

Audio Mixer: Brendan O'Brien.

Recording information: Hensen Recording Studios, Hollywood, CA; SOuthern Tracks Recording, Atlanta, GA; The Sound Kitchen Recording Studios, Franklin, TN; Thrill Hill Studios, NJ.

Photographer: Danny Clinch.

"Yes, life is very confusing, we're just trying to get on with it." -- Art Carney as Harry Coomes in Harry and Tonto.

The many voices that come out of the ether on Bruce Springsteen's The Rising all seem to have two things in common: the first is that they are writing from the other side, from the day after September 11, 2001, the day when life began anew, more uncertain than ever before. The other commonality that these voices share is the determination that life, however fraught with tragedy and confusion, is precious and should be lived as such. This is a lot for a rock album by a popular artist to claim, but perhaps it's the only thing there is worth anything.

On this reunion with the E Street Band, Bruce Springsteen offers 15 meditations -- in grand rock & roll style -- on his own way of making sense of the senseless. The band is in fine form, though with Brendan O'Brien's uncanny production, they play with an urgency and rawness they've seldom shown. This may not have been the ideal occasion for a reunion after 15 years, but it's one they got, and they go for broke. The individual tracks offer various glimpses of loss, confusion, hope, faith, resolve, and a good will that can only be shown by those who have been tested by fire. The music and production is messy, greasy; a lot of the mixes bleed tracks onto one another, giving it a more homemade feel than any previous E Street Band outing. And yes, that's a very good thing.

The set opens with "Lonesome Day," a midtempo rocker with country-ish roots. Springsteen's protagonist admits to his or her shortcomings in caring for the now-absent beloved. But despite the grief and emptiness, there is a wisdom that emerges in questioning what remains: "Better ask questions before you shoot/Deceit and betrayal's bitter fruit/It's hard to swallow come time to pay/That taste on your tongue don't easily slip away/Let kingdom come/I'm gonna find my way/ Through this lonesome day." Brendan O'Brien's hurdy-gurdy cuts through the mix like a ghost, offering a view of an innocent past that has been forever canceled because it never was anyway; the instrument, like the glockenspiels that trim Bruce Springsteen's songs, offers not only texture, but a kind of formalist hint that possibilities don't always lie in the future.

In contrast, "Into the Fire" seems to be sung from the perspective of a deceased firefighter's remaining partner who, despite her/his unfathomable loss, offers a prayer of affirmation, and the request to embody the same qualities he or she displayed in paying the ultimate price for selflessness. A Dobro and acoustic guitar bring in the ghost of a mountain melody, and Max Weinberg's muted snare and tom-tom rhythm offer the solemnity of the lyric before Roy Bittan and Danny Federici shift the gears and offer a nearly symphonic crescendo on the refrain: "May your strength bring us strength/may your faith give us faith/May your hope give us hope/May your love give us love." The second time through, the last line subtly changes to "May your love bring us love." While the band is in full flower, the keys are muted under sonic ambience and the snaky lone acoustic guitar and Weinberg's thundering processional drumming.

Likewise, the revelatory rock & roll on "Worlds Apart," complete with a knife-edged wail of a guitar solo by Springsteen that soars around a Sufi choir is not only a manner of adding exotica to the mix, but another way of saying that all cultures are in this together, and it unwittingly reveals that great rock can be made with virtually any combination of musicians. It's a true scorcher. "Further On (Up the Road)" is a straight-ahead rocker complete with knotty riffs and plenty of rootsed-out, greasy guitar overdrive -- most of the album does, but that's one of O'Brien's strengths as a producer -- that are evocative of Mike Ness and Social Distortion's late efforts.

Lest anyone mistakenly perceive this recording as a somber evocation of loss and despair, it should also be stated that this is very much an E Street Band recording. Clarence Clemons is everywhere, and the R&B swing and slip of the days of yore is in the house -- especially on "Waitin' for a Sunny Day," "Countin' on a Miracle," "Mary's Place" (with a full horn section), and the souled-out "Let's Be Friends (Skin to Skin)." These tracks echo the past with their loose good-time feel, but "echo" is the key word. Brendan O'Brien's guitar-accented production offers us an E Street Band coming out of the ether and stepping in to fill a void. The songs themselves are, without exception, rooted in loss, but flower with the possibility of moving into what comes next, with a hard-won swagger and busted-up grace. They offer balance and a shifting perspective, as well as a depth that is often deceptive.

The last of these is a bona fide love song, without which, in rock & roll anyway, no real social commentary is possible. The title track is one of Mr. Springsteen's greatest songs. It is an anthem, but not in the sense you usually reference in regard to his work. This anthem is an invitation to share everything, to accept everything, to move through everything individually and together. Power-chorded guitars and pianos entwine in the choruses with a choir, and Clemons wails on a part with a stinging solo. Here too, the chantlike chorus is nearly in symphonic contrast to the country-ish verse, but it hardly matters, as everything inside and outside the track gets swept into this "dream of life." The album closes with "Paradise," a haunting and haunted narrative offered from the point of view of a suicide bomber and a studio version of "My City of Ruins." These songs will no doubt confuse some as they stand in seemingly sharp contrast to one another, but in "My City of Ruins," all contradictions cease to matter. With acoustic pianos and subtley shimmering Memphis soul-style guitars that give way to a Hammond B-3 and a gospel choir, Springsteen sings "rise up" without artifice. In this "churchlike" confessional of equanimity, Springsteen reaches out to embrace not only his listeners, but all of the protagonists in the aforementioned songs and their circles of families and friends. The album ends with an acknowledgement of grace and an exhortation to action.

With The Rising, Springsteen has found a way to be inclusive and instructive without giving up his particular vision as a songwriter, nor his considerable strength as a rock & roll artist. In fact, if anything, The Rising is one of the very best examples in recent history of how popular art can evoke a time period and all of its confusing and often contradictory notions, feelings, and impulses. There are tales of great suffering in The Rising to be sure, but there is joy, hope, and possibility, too. Above all, there is a celebration and reverence for everyday life. And if we need anything from rock & roll, it's that. It would be unfair to lay on Bruce Springsteen the responsibility of guiding people through the aftermath of a tragedy and getting on with the business of living, but rock & roll as impure, messy, and edifying as this helps. ~ Thom Jurek

Considering that the last time Bruce Springsteen collaborated with the E Street Band for a full album of new material was on 1984's epochal BORN IN THE USA, it's entirely appropriate that their 2002 album THE RISING should be forged from images strongly linked to the events of September 11th, one of America's most trying times. Virtually every song here is related to that tragedy either directly or indirectly. Some, like the surging "My City in Ruins" and the melancholy "Empty Sky" largely eschew metaphor, while others approach the situation from more oblique angles. "Mary's Place" is a rousing roots-rocker about finding joy in the face of sadness, while both the Eastern-flavored "Worlds Apart" and the homegrown "Let's Be Friends" address the need for communication and understanding between disparate entities.

Musically, many of THE RISING's songs are in wide-screen, anthemic mode, as Bruce and company attempt to rally their wounded country with positivity and clear-eyed optimism without shrinking from unpleasant reality. The interstitial ballads take the poignant storytelling mode Springsteen employed on his last new album, 1995's THE GHOST OF TOM JOAD, and apply it to THE RISING's more universal themes. Whatever the format, the enthusiastic camaraderie of the E Streeters and their Boss is audible and infectious. minimize