the rising

It’s not too often these days that I get excited about new music. Maybe you have to be in your 20s to enjoy the Top 20, but I swear I’d have an aneurism if I even tried to keep track of the Papa Snoop Doggy Doctor Dre Shady Slim O-Town Boyz II P-Diddy’s Featuring Infamous DTD Nas Ja Rule. I kinda liked it better when there was one artist and 12 songs on the album, not the other way around. This hasn’t always been the case. I was once the Billboard-subscribing Dr. Ying, music columnist and fabulous DJ with a collection of wacky sunglasses (I wore them at night, dontcha know?) that rivaled Elton John’s spectacle collection. Of course this was back before the DJs became more famous than the artists.

But enough reminiscing. I found myself in Boston’s Virgin Megastore this week (a sad excuse for a “mega”store, by the way … have these people never been to Times Square?) because I was excited about something that hasn’t happened since 1984: a new album by Bruce Springsteen with the E Street Band. After listening to The Rising about half a dozen times, I would place it on the scale somewhere between exceptional and brilliant.

Primarily inspired by the events and aftermath of last September 11, the album is at times haunting, heartbreaking and heartwarming. And it’s always genuine and heartfelt. “Into the Fire” is a tribute to the rescuers who died that day. “You’re Missing” captures the emptiness of families who lost loved ones. “Empty Sky” is a sympathy to New Yorkers who in a matter of hours lost the two most prominent objects on their skyline. Springsteen steers clear of cliche and is never over-the-top with his lyrics, and he strikes a consistent tone of healing, of togetherness, of rising above our troubles and setbacks. If you can listen to this album, read along with the lyrics and don’t feel chills up your spine, then you better check your pulse.

Not every song directly addresses 9/11, and the Boss and E-Streeters manage to rock the house as well. A couple cuts (particularly “Mary’s Place”) would feel right at home on Born To Run, his 1975 commercial breakthrough. Other cuts feature Springsteen’s soaring harmonica and the welcomed return of Clarence Clemons’ signature saxophone solos. And yes, we even have a string section on a few songs, including my absolute favorite cut off the album, “Lonesome Day.” Awesome.

I know many hardcore Springsteen fans, so I’m well aware I shouldn’t categorize myself with that group. But I can imagine many of them are having religious experiences this week. Just hand him the Grammy now. This album is really that good.

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