You know December’s finally arrived when the air has gotten genuinely cold and the Holidays are just around the corner. And as long as we’ve all got visions of beautiful gifts on our minds it’s probably not a bad thing that I have an abolsutely gorgeous Rolex on offer this month. An uncommon transitional Datejust with old-style acrylic crystal and beautifully warm Tritium luminous but with the high-beat, quickset date caliber 3035 under the hood, this circa 1979 reference 16030 is pretty much the best of both worlds — old school, classic good looks with the functionality of a more user friendly, more accurate movement than previous Datejust models.
Even better than its technical sophistication is the absolutely fantastic silver-gray dial, a metallic marvel that changes from gunmetal gray to pure silver depending upon the angle. It’s essentially flawless after all these years and looks amazing on the wrist. And with its timeless 36mm case size and Rolex-signature “Castellated” engine-turned bezel, this all-steel stunner can be worn with a suit or a pair of jeans and a T-shirt, making it an ideal daily driver.
Add to that its really nice tight and long period Rolex USA Jubilee bracelet and the overall Excellent vintage condition of the watch and this transitional 16030 makes for the perfect stocking stuffer for that special someone. Even if that special someone turns out to be you.
There are bands that are really good but that are destined either by bad luck or the fickle tastes of the music-buying public to never quite make it to the top. Professionally accomplished, critically acclaimed, yes, but big sellers, never. Teenage Fanclub is one of those bands. The Scottish group started full of promise way back in 1990 and has released just under a dozen albums. They’ve seen critical success based on an enchanting reworking of the power pop of the past from their key influence, Big Star, mixed with folk rock textures and angelic harmonies inspired by the Byrds. They’ve seen big label contracts and heavy cross Atlantic buzz. But they’ve never seen big sales, as their sort of classic soft rock was just completely out of step with the prevailing trends in pop during their peak years.
Which is a shame because a song like “It’s All In My Mind” from 2005’s Man-Madeis simply a stunner with insanely catchy hooks that make you want to hear it over and over. Unashamedly pretty but leavened somewhat by a sardonic, mature, bittersweet feel to the lyrics, “It’s All In My Mind” is an excellent jumping off point to get to know Teenage Fanclub. And after hearing this near-perfect single you’ll likely want to explore more of their back catalog, as I did. What you’ll find is many more beautiful tracks, once again proving that mass market success in music is not at all correlative to quality or excellence. But then sometimes it’s nice to be one of the select few in on a secret like Teenage Fanclub that’s hiding in plain sight.
Up for sale this month is this uncommon late 1960s Omega ref. 145.020 Seamaster “Soccer Timer” chronograph with beautiful original cream-white dial featuring high contrast red/black sub registers and an inner fixed Tachymeter ring. While it was originally believed that these chronos were manufactured for use in yachting regattas the accepted wisdom now is that they were designed for soccer trainers and referees with the addition to the minute register of a figure for 45 minutes, the length of a football half. Either way, it is an awesome looking watch and in fact the dial design was so striking and distinctive that recently Omega reissued some modern versions of it.
This fantastic and ultra-cool Soccer Timer features sharp chamfers and essentially perfect sunburst satin finish on top of the large 40mm case. Even better, though, is the gorgeous original creamy-white Omega Tritium dial featuring a finely articulated dark gray minute track and red/black sub-registers, with the oversized minute counter specially marked to easily read 45-minute intervals. The dial has a delightful textured matte finish, shows very few signs of age and all Tritium lume plots are present and have acquired a pleasing patina. The bold matching hour and minute hands and fluorescent orange chrono sweep seconds just complete what is simply a terrifically pleasing and unique original Omega Seamaster Soccer Timer layout in top condition.
Under the hood is the redoubtable Omega manual-wind caliber 861, the same workhorse as found in their famed Moonwatch after they phased out the legendary cal. 321. With a 27 million serial number dating it to circa 1968 and looking very bright and pristine, this classic chrono movement had a complete service at Omega UK in 2013 and so is running like a champ, with all timekeeping and chronograph functions operating flawlessly.
When you look at how the prices of vintage mechanical chronos have skyrocketed in the past few years, the Omega Soccer Timer remains a premium piece that is still reasonably affordable for both the aspiring or experienced collector. If anything, a beautiful example like this one has got upside potential once people figure out it’s a better quality watch than many others currently in its price range. For style, functionality and pure funky cool you can’t go wrong with this beautiful cream dial Soccer Timer. You’re sure to be noticed in the best possible way.
Well here’s something you don’t find every day: a 55-year-old watch with its original boxes and papers! But that’s the case with this classic gold-capped vintage 1961 Omega Constellation that I’m offering this month. Not only is it in truly Excellent and unmolested vintage condition with no signs of polish, an all-original non-luminous crosshair dial and its original plated Beads of Rice bracelet but it’s also accompanied by its original double box-set and matching guarantee papers. And that turns an already cool vintage watch into collector grade just like that.
Under the hood is the fantastic Omega automatic caliber 561, arguably part of the best family of mass-produced movements in the history of horology. It features 24-jewels, a semi-quickset date function and has 5 positional adjustments and one for temperature. This fine tuning enabled the 561 to pass its time-keeping tests with flying colors and that’s why it was such a successful movement for Omega’s flagship line, the always Chronometer-rated Constellation.
Take affordability, elegance and mechanical precision along with classic early-60s Gerald Genta-designed vintage style and add then hard to find pieces of original provenance and you’ve got a special package for the discerning collector. That this Connie has survived for so long in such great original condition and still is paired with its factory packaging and paperwork is nothing short of magical. At least that’s the way I look at these sort of wonderful vintage watch finds. And if you’re reading this I bet you do, too.
When the great comic actor Gene Wilder passed away on August 29th at the age of 83 due to complications from Alzheimer’s it felt just as though a favorite eccentric uncle had died. (The New York Times obituary is here.) For those of us who grew up in the late 1960s, 70s and 80s Wilder left an indelible impression. If you enjoyed funny movies in the least (and really, who doesn’t?), Wilder was one of the joys of the cinema during that period, all the more so because there was nobody before or since who quite possessed his unique blend of neurotic mania and soulful mensch-ness. Even when Wilder was portraying a character a little bit naughty, like Leo Bloom in the original The Producers, the unpredictable Willy Wonka of chocolate factory fame, a descendent of Victor Frankenstein compelled to pursue the same macabre obsessions as his infamous grandfather or a wrongly convicted con alongside his great comedy partner Richard Prior in Stir Crazy, Wilder always seemed to juxtapose a sweetness with his delightfully manic outbursts.
After studying acting at the Old Vic in England and the HB Studio in New York, the Milwaukee-born Wilder first came to wide attention with a small but impactful role in Warren Beatty and Arthur Penn’s seminal Bonnie and Clyde (1967), interrupting the film’s otherwise grim narrative with a burst of humor as a rather eager and happy hostage. But his major breakthrough came a year later in Mel Brooks’ all-time classic, the hysterically funny The Producers. As the nebbishy and neurotic Leo Bloom, Wilder was perfectly matched with the bigger-than-life, morally bankrupt has-been theater producer Max Bialystock, played to the hilt by the peerless Zero Mostel. Amidst the side-splitting opening sequence, as Bloom is abruptly initiated into Bialytsock’s crazy world when he comes to do the producer’s accounting books, it is Bloom who conceives of the idea of raising much more money than needed for a production so bad that it is doomed to close on opening night, thereby allowing the surplus cash to be kept. Bialystock runs with it, coercing Bloom to be his accomplice. They then find a fantastically wretched play called “Springtime for Hitler” and the rest is cinematic comedy history.
https://www.youtube.com/watch?v=r2pt2-F2j2g
His next major role was as the title character in 1971’s Willy Wonka and the Chocolate Factory. Though not a major hit at the time it became a cult classic with some likening it to a latter day Wizard of Oz, a film that works as both a kids’ movie and something more profound, and Wilder’s influence can be seen throughout in his unique bits of improvisation and inspiration. Johnny Depp was good in the remake but it’s hard to think of anyone other than Gene Wilder as the definitive Willy Wonka, especially when delivering his unexpectedly poignant song, “Pure Imagination.”
He was drafted again by Brooks, as a last minute replacement no less, for 1974’s screamingly funny Western satire, Blazing Saddles. Against type, Wilder played a laconic gunman with a drinking problem given renewed purpose by his fast friendship with the town’s besieged new black sheriff, played by Clevon Little. As if that wasn’t enough comedy gold, that same year Brooks and Wilder collaborated on the brilliant Young Frankenstein, a masterpiece that was Wilder’s concept and that he co-wrote. Filmed in beautiful black and white as an elaborate sendup of 1930s Universal-style horror, Young Frankenstein became a classic in its own right with an unparalleled ensemble cast — including Cloris Leachman, Teri Garr, Madeline Kahn, Kenneth Mars and newcomers Marty Feldman and Peter Boyle — and pitch perfect direction and screenplay. It stands as one of the great collaborative movies of all time and is arguably both Brooks and Wilder’s best work.
1976 saw a magical bit of good casting as Wilder was paired with Richard Pryor for the first time in Silver Streak. Alongside the wonderful Jill Clayburgh in this very good, very funny comedy-thriller about murder and mayhem aboard an LA-to-Chicago train, the two men made cinema history as the first bi-racial comedy duo and audiences loved their unlikely, yin-yang chemistry. As a result, Wilder and Pryor would make three more films together, 1980’s excellent prison comedy Stir Crazy(directed by Sidney Poitier!), the underrated See No Evil, Hear No Evil (1989) and finally Another You in 1991 when Pryor was already greatly diminished by multiple sclerosis.
Wilder found another impactful partnership when he met Gilda Radner on the set of 1981’s Hanky Panky. The two became comedy royalty when they married in 1984. But the relationship ended tragically when Radner passed away in 1989, a victim of ovarian cancer. This loss inspired Wilder to establish an early detection center in Los Angeles, as well as co-founding Gilda’s Club in New York City, a non-profit support group for cancer patients and their families that now has branches throughout the United States (where it is now known as the Cancer Support Community) and Canada. Wilder found love again when he met Karen Webb while working on See No Evil and they married in 1991. They remained together until his death, a much longer if less romanticized relationship than his union with Gilda Radner, so spare a thought for Ms. Webb at this sad time as well.
https://www.youtube.com/watch?v=BLzPRyMmOGY
Though Gene Wilder had largely retired from acting since the early 1990s, instead concentrating on writing, the importance of his best work grew over the years as his special films became part of the greater pop cultural and comedy firmament. That makes it extra difficult to lose such an original actor who got the laughs because he played his characters so truthfully, one who was always so audaciously alive and vibrant on screen. For those of us who grew up with his movies it feels as if we’ve lost a very funny older friend, one we could turn to for a guaranteed laugh no matter how the world was treating us. But we must also remember that Gene Wilder lived a wonderfully full life, was a truly good man and left a massively joyful contribution to the world that survives him via his films. And if we’re being just a little sentimental, it’s not hard to imagine Gene reunited with Richard and Gilda and Marty and Peter and Kenny and Madeline someplace special, cutting up with them all again, his explosive, utterly contagious laugh ringing out through the ether in the company of fine old friends.
In the 1960s, AM pop radio was king. FM wasn’t wide spread or heavily commercialized yet — most car and portable radios didn’t even have Frequency Modulation — and the majority of FM’s content was talk and Jazz, with some avant garde college stations breaking new ground by playing true alternative music like the Velvet Undergorund. But if you wanted to hear the hits you’d hear them on AM. While it’s easy to think that only heavyweights like Cream, Hendrix, The Doors and The Byrds were getting all the airplay two of the biggest AM chart toppers of that pop friendly-era were The Grass Roots and The Rascals.
I’d Wait a Million Years – The Grass Roots
The Grass Roots were a prototypical LA band: a good looking and interchangeable bunch of non-threatening white guys who could write a little, play a little but mostly sing very well while letting professional session musicians handle the recording dates and a master producer and songwriting team create their “sound.” On vinyl they were often backed up by that famous group of anonymous studio aces, The Wrecking Crew. But unlike other truly ersatz acts like The Association and The Monkees, The Grass Roots could really Rock when called upon with the commitment that makes for great Blue-Eyed Soul and pop rock. Sure, their music was heavily produced and the band members wound up coming and going at a dizzying pace — their only real mainstay was bassist/singer Rob Grill who wound up owning the band’s name and kept the Grass Roots going until his death in 2011. But under their nod-and-a-wink hippy moniker and backed by the remarkable West Coast songwriting team of PF Sloan and Steve Barri (of “Secret Agent Man” fame) and that great ultra-pop producer/Svengali Lou Adler (Mammas & the Papas, Carole King) and his Dunhill Records label, the Grass Roots cranked out some the seminal hits of the 60s.
Foremost among them is the great “Let’s Live For Today”. Released in 1967 at the height of the Summer of Love, “Live for Today” seemed to capture the youth explosion at its most optimistic, literally proclaiming carpe diem in 2:47 of dramatically arranged, beautifully constructed near-perfection. If it wasn’t “A Day In the Life” or “Good Vibrations”, well, not much else was either and “Let’s Live For Today”s yearning, passionate optimism and chiming but slightly wobbly, almost Eastern guitar notes — not to mention that great shouted “1-2-3-4!” bridge — signaled generational change and renunciation of establishment expectations in the guise of a plaintive love song. It brought the band major success, charting at #8 and selling over a million copies, and it’s simply a great pop record redolent of 60s zeitgeist that still holds up very well.
Midnight Confessions – The Grass Roots
Though not an album band due to their somewhat manufactured, ad hoc structure the Grass Roots had another smash with the beautifully produced and well-arranged “Midnight Confessions,” a typical hopeless love song elevated to super-hooky greatness by a swirling Hammond organ, a walking bass line and some innovative time shifts by the percussion. It deservedly reached #5 on the pop charts late in 1968.
Temptation Eyes – The Grass Roots
1969 saw them score another big hit standing out from a lot of middling material with the intense “Wait a Million Years” and its through-line of insistent electronic beep, dramatic horns and propulsive rhythms. Amidst much band reshuffling the ‘Roots had one more really good song in them, 1970’s “Temptation Eyes”, a solid straight-ahead rocker that was definitely consistent with their overall sound and contribution to the Rock canon. While they’d have even more success with 1971’s “Sooner or Later” and “Two Divided By Love”, those songs are pretty weak sauce with an inescapably cloying Wonder Bread mushiness that does the band no credit. It’s no wonder that they soon petered out and onto the oldies circuit. But their best songs still hold up really well and are a pleasure to listen to. By definition a 60s band, The Grass Roots nevertheless seem prescient in predicting the pop direction of similar acts like The Raspberries, Three Dog Night and Atlanta Rhythm Section.
https://www.youtube.com/watch?v=-Mlj8nuJbNQ
The Rascals might be viewed as the mirror image of a band like the Grass Roots. Although they charted just as frequently on AM radio during the 60s and their music was also an integral part of the pop soundscape of the era, the Rascals (originally the Young Rascals) were not a West Coast studio creation at all, despite the excellent production and sophisticated arrangements of their best singles. The Rascals hailed from back east in New Jersey and were a real band with four longstanding members who wrote and performed their own material: Felix Caviellieri on keyboard and vocals, the band’s linchpin, Eddie Bregati on vocals and percussion, Gene Cornish on guitar and Dino Danelli on drums. With three of their members having already honed their chops in the band Joey Dee and the Starlighters, The Young Rascals came out of the shoot ready to rock with two reasonably successful hits, the pleasingly raw “I Ain’t Gonna Eat Out My Heart Anymore” (1965) and the propulsive, all-time great party anthem “Good Lovin'” (1966).
Good Lovin’ – The Young Rascals
Already the authenticity of the vocals and more rough-hewn, organic excellence of the musicianship declare that the Rascals are not going to be just another sweet sounding pop band with only one or two hits. With an attack owing more to garage bands like the Standells and The Outsiders than to the highly polished sheen of LA’s “West Coast Sound,” but also with more than a casual nod to the British Invasion, the Rascals made the case that East Coast Rock ‘n Roll would not go gently into that good, super-sweet AM radio night.
Which is not to say that the Rascals were radical or confrontational in any overt way. They weren’t musical revolutinaries like Love or social rabble rousers like Jefferson Airplane. But neither were they bubblegum pop. The Rascals were grittier Blue-Eyed Soul with an authentic, intuitive feel for a non-condescending, non-homogenized version of that sub-genre that so many other white acts just couldn’t match. They kept up the good work in 1967 with the Bacharach-like “How Can I be Sure” (covered to even better effect by Dusty Springfield for my money), the surprisingly soulful ode to love and good times, “Groovin'”, a #1 chart-topper, and its fraternal twin single, 1968’s “A Beautiful Morning.”
A Beautiful Morning – The Rascals
Those last two lush and ostensibly happy singles cleverly utilize hints of Latin percussion and feature Cavaliere’s wonderfully evocative, emotionally complex vocals, turning what could easily be pop tripe into something lasting, universal and great. The Rascals were also dedicated participants in their tumultuous times, taking a stand on racial segregation by not accepting bookings on segregated, all-white bills. And when Martin Kuther King and Robert Kennedy were assassinated in 1968 it seemed only fitting that they’d be releasing a single that made the case for peace, tolerance and brotherhood, “People Got To Be Free.”
https://www.youtube.com/watch?v=sastKEBZhXY
The Rascals peaked early and wouldn’t last much into the 70s, failing to find chart success when they tried to be more ambitious than the 3-minute single and ventured into longer-form tracks incorporating psychedelia, Eastern philosophy and jazz fusion (though for true aficionados the later recordings are still worth a listen, as the musicianship is always excellent). Nonetheless, as a band that wrote & performed almost all of their own material, they were undoubtedly a more serious, substantial Rock band than The Grass Roots despite sharing a similar timeline of success, no argument. As if to prove the point, The Rascals were inducted into the Rock ‘n Roll Hall of Fame in 1997. But for pure listening pleasure, both The Rascals and The Grass Roots still deliver the thrills and hooks of a beautifully fresh pop sound that resonates all the way from the late 1960s to today, whether you’re listening via AM, FM or WiFi.
On offer as we wind down July is an always in-style classic vintage Rolex Datejust in steel. Only this one has a special twist — a very uncommon textured blue dial. Dating from the early 1970s, this is a reference 1603, which means a Datejust with steel “Castellated” patterned engine-turned bezel, and it come from an era when Rolex simply didn’t produce that many DJs in blue. Relatively common in 35mm Date models but not a lot of Rolex’s full size 36mm flagship model had them for whatever reason.
Like a lot of blue dials from back in the day, this beautiful pie-pan shows signs of oxidation and reaction to the Tritium luminous plots. But that only adds to the overall vintage charm of this handsome and versatile watch. Built Rolex tough, I don’t really think the stainless steel case has ever been polished. Well worn, yes, but polish is not really evident, as it features thick lugs, undistorted lug holes and sharp edges.
It comes on its original Rolex USA-made Jubilee style bracelet and better yet, the great caliber 1575 workhorse movement has just been fully overhauled for years more faithful service. If you’re seeking the classic look of a vintage Rolex Datejust but one with a dial color that elevates it to something a little more special, you may well have found your watch.
“Pancho and Lefty,” written by the great cult country singer-songwriter Townes Van Zandt, is one of those supremely evocative songs that is both touching and enigmatic. Obliquely telling the story of Pancho, a Mexican bandit similar to the legendary Pancho Villa, and Lefty, a broken down singer who may or may not have set up Pancho to be taken and killed by the Federales, the song saw its biggest success on Willie Nelson & the late Merle Haggard’s 1983 collaboration, Pancho and Lefty. The title track reached #1 on the country charts and it’s easy to hear why today
With Willie Nelson’s inimitably reedy talk-singing laying out the story in touching but unsentimental manner for two-thirds of the track and then Haggard’s instantly recognizable Bakersfield baritone coming in for the last verse and joining Willie for the last choruses, their “Pancho and Lefty” is a world weary tale of a bandit’s rise and fall and the more nuanced discontents of an aging singer. Miles away from the ultra-slick country confections of the time, it’s easy to see how the song’s bittersweet story arc would appeal to these gritty veteran country music outlaws.
But there is an even earlier version of “Pancho and Lefty” that gives the song’s moving mini-saga an achingly beautiful feminine retelling. One of the highlights of the supernaturally gifted vocalist Emmylou Harris’s 1977 standout album, Luxury Liner, her version of “Pancho and Lefty” was actually the first cover of this much-covered song. It’s also arguably still the best.
Famed as a great duettist and muse, most notably on Gram Parsons’ best solo recordings, Harris shows that she is more than up for leading a band and dominating a tune as a solo artist. With her utterly unique and ethereal soprano front and center, Harris’s version not only puts forward the tale of the outlaw and the singer as written but also seems to be bringing forward an even deeper level of meaning as relates to the song’s author. When she sings: “The poets tell how Poncho fell/And Lefty’s livin’ in a cheap hotel/The desert’s quiet, Cleveland’s cold/And so the story ends we’re told/Pancho needs your prayers, it’s true/Save a few for Lefty too/He only did what he had to do/And now he’s growin’ old” the connection that this is Van Zandt’s lonesome autobiography — and that he might think of himself as both the outlaw and the singer — really hits home. As great and enjoyably leathery as the Nelson-Haggard version is, it’s the lovely and soulful Emmylou Harris take that I’d pick to move me — and breath life into the spirit of Townes Van Zandt — every day of the week.
We are surely ending the month of June with a bang because have I got something special for you haute horology buffs. Up for sale on consignment is this absolutely stunning Patek Philippe reference 2552, aka the true “Disco Volante”. A marvel of mid-century engineering inside and out, the Disco Volante gets its name from its large, round 36mm diameter and tall, double-stepped bezel, making it look a bit like a flying saucer. Though that said, it’s definitely more suited to black tie than Area 51.
Of course this heavy yellow gold classic 1950s men’s dress watch is beautiful on the outside, as you’d obviously expect, with a stunning original eggshell dial that has acquired a gorgeous ivory patina through the years. But it might get even better under the hood where you’ll find Patek’s first-ever automatic movement, the legendary caliber 12-600 AT, ticking away. Far ahead of its time when it was introduced, the 12-600 AT features 30 jewels, the Geneva seal reserved only for exceptional calibers, a solid 18k rotor with stunning engine turned engraving that winds in both directions for maximum efficiency, 5 positional adjustments, as well as further adjustments for heat, cold and isochromism, and Patek’s patented Gyromax balance and a top flight Breguet hairspring all beating at a rapid 19,800 bph. And did I mention it is drop dead gorgeous to behold?
This fantastic machine has just been fully serviced for years’ more faithful service to its new owner and this wonderful Disco Volante also comes with a genuine Patek croc strap. Better yet, it has its period correct 18k Patek buckle, too, a valuable accessory in its own right. Continue reading →
I sometimes feel that Bruce Springsteen is a victim of his own popularity as well as his perceived New York/New Jersey-ness, often dismissed these days as more of an institution than great artist, a touring extravaganza for nostalgic old East Coasters. But the length and breadth of his musical accomplishments places him firmly in the realm of the greats of Rock, somewhat so obviously that, like a certain type of Hall of Fame athlete, you take him for granted until you start revisiting his oeuvre. I consider him part of the Big 3 of 1970s power pop singer-songwriters along with Tom Petty and Bob Seger, all artists of great integrity and short story-like lyrical brilliance who also share the same talent of being able to surround themselves with phenomenal backing bands.
On 1973’s The Wild, The Innocent & The E Street Shuffle, recorded two years before the breakthrough smash Born To Run, you can hear the young Springsteen growing by leaps and bounds and handily shedding the “New Dylan” moniker/trap that weighed heavily on so many talented artists in the 70s. The album contains the all-time concert fav “Rosalita” among several other standouts. But it’s the semi-title track, “The E Street Shuffle,” that gives a glimpse of the future for The Boss in terms of lyrical dexterity in painting a vibrant, multi-character milieu with a now-effortless rush of impressionistic words in contrast to the somewhat self-conscious overwriting of his debut Greetings From Asbury Park. Just as importantly, the track is the fullest realization yet of what would become the E Street Band’s trademark ultra-propulsive interplay between rhythm, melody and a big band sound that would lead to so many smash hits in the very near future.
The fully integrated sound that would lead Born To Run to such great musical heights is in full swing on “E Street Shuffle” with dazzling percussion, horns led by the dearly missed Clarence Clemmons’ big barroom sax and oddball instruments like a very wet and bouncy electric piano, as well as sizzling switches between Springsteen’s funk-inflected rhythm guitar and his incisive leads (the great Steve Van Zandt had not yet joined the band). Starting with a brief New Orleanian horn tune up, the song winds up being four and half minutes of unbridled joy and ecstatic catharsis, a tune about a party in the streets that sounds like a party in the studio. That there is a false ending and the last 50 seconds or so goes out with a nearly Isley Brothers-ish, oh-so-early-70s waketcha-waketcha boogie down guitar and horns orgasm makes this kick-ass track all the better.
“The E Street Shuffle” shows Springsteen and the E Street Band very near the peak of their rapidly developing powers as crafters of great American narrative Rock ‘n Roll. The characters spring to life with muscular, impressionistic lyrics, a Springsteen hallmark that would only become magnified with time. And the genuine ebullience and optimism of “E Street Shuffle” would be carried over and amplified on Born To Run but then begin to quickly fade into something much more pessimistic about the broken promises of the American dream with the edgier Darkness On The Edge Of Town, the very sad, downtrodden The River, the misunderstood, highly disillusioned Born In The USA and then the utter despair of Nebraska. Revisiting “The E Street Shuffle” it’s nice to hear a young Bruce and his compatriots healthy, vibrant and bursting at the seams with joy. All the more so because, just like most things in life, that spirit of unbridled optimism wouldn’t last.
As a bonus, here is a pretty friggin’ great live version from 2012 in Denmark where Bruce & the band are joined by the Roots for a good ol’ fashioned block party sing-a-long. From all the miles he’s traveled and the ups and downs he’s been through, The Boss’s enthusiasm for performing and collaborating still shines though and it’s clearly infectious even on an entirely new generation of musicians. The energy the two bands are giving each other while sharing the stage is a joy to behold.
