It should come as no surprise to readers of this blog what I think about this band and its leader. I can say that almost every time I sit down to bang out a post I have the urge to make it about Springsteen. To date I think I have only done one out of eighty something so I haven't beaten it to death.
I was raised Catholic but as the years progressed I never felt that relationship or connection, at times I worked at it, perhaps not hard enough, but still it never came about. That blissful revelation and connection people describe receiving through religion comes to me with his music. I learn, see life and have grown for the past fifteen years under his preachings.
Right now it is the early evening. I am sitting on my bed on the 20th floor of a hotel overlooking the Las Vegas skyline. I sit here waiting for a friend who, like most good friends, I met by pure luck and accident. That was four years ago and we have never lived remotely close to each other. However we get together a few times a year, as much as we can with our hectic, erratic schedules and it is always an awakening experience.
While doing cardio this song came on at random. Years ago while living on Perdido Key this was the song that came on after my six mile job, on the playlist it was just timed perfectly to come on at 51 minutes which was constantly my pace. I'd cool down with a walk along the azure waters of the Gulf and feel the sand between my toes before I went back to the house to study all night with the breezes wafting through the open windows until I passed out with a NATOPS on my chest.
The two connections above as well as others not mentioned, lovers, family and myriad of meanings that could be drawn on the existential level from this song carries gravitas and makes the song (which is usually just sung by Springsteen himself only) another little known classic by this legend. And forgive me for making this post a little more didactic.
The beauty of this version is that all members of the band sing a verse, in doing so we see five different singing styles, all unique and sublime. And when I listen to music I listen for the very small things: a chord here and there, a trail off of the voice, a hint of pain in the tone...many aspects which usually go unnoticed. In this selection it is easy to hear these things near the end when each member sings the same line:
"I'll wait for you, and should I fall behind, wait for me"
The Boss starts his in a very a matter of fact manner "Should we loose each other in the shadow of the evening's trees..". as if it is a foregone conclusion that it will happen.
Clarence sings as if he still has a sax in his mouth, you can hear the air moving in and out of his mouth in a deep, blowing gust of baritone.
Patti comes in at a high soprano which is her trademark singing style but then as she trails off a tiny bit of fragility and sexuality arises in the last "wait" like a sex kitten purring snuggled up in the sheets.
Stevie's voice is two six shooters drawn in rock and roll defiance, throwing in baby and drawing out the long "A" the first time, you can picture the blood dripping from his nails as he grapples and tears at her as she slides out of his grasp.
Nils's voice sounds like a mix between Tracy Chapman and Natalie Merchant with testosterone thrown in for measure, it is one of the strongest, subtle voices I have ever heard. I just get gitty when he starts with "Darling".
Finally they all come together and end with the same verse, and in doing so it is evident how they change and leave off a bit of their own styles when the quintet is joined. Listen to it time and time again and see how different aspects come to light.
I know not many people know of this song and even if they do I challenge them to listen to this version and concentrate on each note and breath, then apply that to every song you hear from this point on. In this song it is easy to point out the differences, others are significantly more difficult. Jazz and Classical is the final frontier in this matter and the scales are so much more complex that to the untrained ear it all blends together. It is out there though and I guarantee your musical life will be enhanced when it becomes natural.
I was raised Catholic but as the years progressed I never felt that relationship or connection, at times I worked at it, perhaps not hard enough, but still it never came about. That blissful revelation and connection people describe receiving through religion comes to me with his music. I learn, see life and have grown for the past fifteen years under his preachings.
Right now it is the early evening. I am sitting on my bed on the 20th floor of a hotel overlooking the Las Vegas skyline. I sit here waiting for a friend who, like most good friends, I met by pure luck and accident. That was four years ago and we have never lived remotely close to each other. However we get together a few times a year, as much as we can with our hectic, erratic schedules and it is always an awakening experience.
While doing cardio this song came on at random. Years ago while living on Perdido Key this was the song that came on after my six mile job, on the playlist it was just timed perfectly to come on at 51 minutes which was constantly my pace. I'd cool down with a walk along the azure waters of the Gulf and feel the sand between my toes before I went back to the house to study all night with the breezes wafting through the open windows until I passed out with a NATOPS on my chest.
The two connections above as well as others not mentioned, lovers, family and myriad of meanings that could be drawn on the existential level from this song carries gravitas and makes the song (which is usually just sung by Springsteen himself only) another little known classic by this legend. And forgive me for making this post a little more didactic.
The beauty of this version is that all members of the band sing a verse, in doing so we see five different singing styles, all unique and sublime. And when I listen to music I listen for the very small things: a chord here and there, a trail off of the voice, a hint of pain in the tone...many aspects which usually go unnoticed. In this selection it is easy to hear these things near the end when each member sings the same line:
"I'll wait for you, and should I fall behind, wait for me"
The Boss starts his in a very a matter of fact manner "Should we loose each other in the shadow of the evening's trees..". as if it is a foregone conclusion that it will happen.
Clarence sings as if he still has a sax in his mouth, you can hear the air moving in and out of his mouth in a deep, blowing gust of baritone.
Patti comes in at a high soprano which is her trademark singing style but then as she trails off a tiny bit of fragility and sexuality arises in the last "wait" like a sex kitten purring snuggled up in the sheets.
Stevie's voice is two six shooters drawn in rock and roll defiance, throwing in baby and drawing out the long "A" the first time, you can picture the blood dripping from his nails as he grapples and tears at her as she slides out of his grasp.
Nils's voice sounds like a mix between Tracy Chapman and Natalie Merchant with testosterone thrown in for measure, it is one of the strongest, subtle voices I have ever heard. I just get gitty when he starts with "Darling".
Finally they all come together and end with the same verse, and in doing so it is evident how they change and leave off a bit of their own styles when the quintet is joined. Listen to it time and time again and see how different aspects come to light.
I know not many people know of this song and even if they do I challenge them to listen to this version and concentrate on each note and breath, then apply that to every song you hear from this point on. In this song it is easy to point out the differences, others are significantly more difficult. Jazz and Classical is the final frontier in this matter and the scales are so much more complex that to the untrained ear it all blends together. It is out there though and I guarantee your musical life will be enhanced when it becomes natural.
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