Bruce Springsteen's latest album, "Working on a Dream," marks a new chapter in his long career. In each successive album, Springsteen has departed from the style of his previous one, constantly modifying his music. "Working on a Dream" is no exception.
This album as a whole is far slower than any of its predecessors. But despite the fact that it represents a serious break in tradition, there is no doubt that the man behind the songs is still ‘the Boss.'
One problem with "Working on a Dream" is its lack of consistency from song to song. Some tracks are reminiscent of the Bruce of old, while others lack the flair and allure of a Springsteen classic. For example, the album's fifth track, "What Love Can Do," is one of its best. It is very similar to the style that Springsteen went for on "The Rising" (2002) and is sure to please most fans. The melody and rhythm of the song establish themselves very early on, leading listeners to recognize the quality of the song almost instantly. Not only are the melody and rhythm front and center, but they are also quintessentially Bruce. In fact, an avid Springsteen listener who has never heard the album could identify "What Love Can Do" as a Springsteen song just by its melody, chord structure and rhythm without much trouble. The song is well-written, well-produced and is perhaps the strongest on the album.
In sharp contrast, some songs stray very far from Springsteen's comfort zone as a rock artist. The seventh track, "Good Eye," is a delta-style blues song that makes it seem as though Springsteen was trying to go too far with his new folk-country theme. It is really just overkill. "Good Eye" is probably the weakest song on the album, marking a serious hole in the middle of an otherwise decent lineup.
Some songs do manage to recall the quality of Springsteen's older work. "This Life," although not a classic by any means, is another song that sounds like Springsteen in his golden days. It is melodic and simple with typical Springsteen-style backup harmonies. Unfortunately, however, it is slow and becomes repetitive at some points. That said, there are several bright spots in the song, particularly when saxophonist Clarence Clemmons helps to carry the bass line, adding another essential Springsteen element to the song. The song ends with Clemmons in a higher, more noticeable register, taking center stage as he did on many previous Springsteen albums.
"Working on a Dream," the album's title track, represents a mix of Springsteen´s usual styles. Background harmonies present in his more recent works and strong saxophone influences that he has used throughout his career come together in this song. In fact, the title track is a phenomenal mix between the Springsteen of the late '70s and the Springsteen of the recent past. The song has something to offer everyone and merits attention as it is one of the stronger tracks on the album.
Springsteen seems confused in this album about whether to echo his past or to move forward. It appears as though he wants to explore new musical styles but is also tentative about leaving behind what has gotten him to where he is today. This decision is a tough one that many artists who have been around for a while will face. But Springsteen, all things considered, has done a good job balancing his past and future self to pioneer a newer sound. As this album was somewhat unexpected, it will be interesting to see where Bruce Springsteen and the E Street Band decide to go next.
