The Boss's Musical Indictment

IN THE GREAT gospel and blues tradition of affirming in the negative, Bruce Springsteen’s new album, Wrecking Ball, is simultaneously a ferocious roar of righteous anger at what the captains of Wall Street did to America in 2008 and a riotous celebration of American roots. That could make it the perfect soundtrack for a spring and summer resurgence of the Occupy Wall Street campaign.

At this point a new album from Bruce Springsteen is no longer an earth-shaking event, even in the world of rock and roll. After all, the guy is 62. In the past few years, two core members of his band (organist Danny Federici and sax man Clarence Clemons) have died, not from rock-star excesses but from the old-guy ailments of skin cancer and stroke, respectively. And The Boss’ last album of new material, the 2009 Working on a Dream, was definitely subpar.

But with Wrecking Ball, Spring-steen has, for the second time within a decade, stepped forward to assume the role of a Telecaster-toting poet laureate and produced a stirring work of popular art that speaks to the depths of the national condition. The first time was with The Rising, his 2002 meditation on mortality and loss in response to 9/11. The songs in this new collection plainly declare about our ongoing economic crisis what no mainstream national political leader has been willing to say: We were robbed, and the thieves have escaped justice.

Each of Wrecking Ball’s first five tracks explicitly calls out the titans of finance for crimes against democracy and humanity. In “Jack of All Trades,” the song’s narrator even suggests that it might be a good idea to “hunt the bastards down and shoot ’em on sight.” And the sixth track is called “This Depression” with a double meaning, both economic and emotional.

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