After the thrilling return to form on Wrecking Ball, wanting more of the same from Bruce Springsteen on future releases is an understandable expectation. His Tom Morello collaborations on High Hopes are a bold choice. Springsteen has often showcased his ample talent for the guitar, and if not him, then Steven Van Zandt has provided an exceptional foil to The Boss. Morello feels like one too many cooks in the kitchen, and yet, with the name value alone, hopes are high. Covering songs from the past and adapting them to the modern day is a fair excuse for a legendary songwriter such as Springsteen. He makes the most of this release, avoiding the obvious moments which would overshadow the subtle details within. There is no Born to Run here, nor Born in the U.S.A., but a focus and respect on the so-called deep cuts is what inspires Springsteen and Morello here.
Part of the problem for artists revisiting their songbook is what they expect to get from it. For some, it is just the thrill of playing these definitive, excellent pieces, as is the case for Neil Young or Bob Dylan. Others, like U2, are expecting to find new meaning in the same notes because of instrumental change and the passage of time. Noble the goal may be, it is rare a new route is found by actively seeking it. Unreleased material is mixed with songs which were overlooked by fans the first time around. The Ghost of Tom Joad is given a second chance, as is the title track, a rip from the exceptional and understated Blood Brothers EP. Flipping through the backlog of excellent, unreleased material is a treat. Springsteen can be accused of phoning it in a bit on the releases preceding this, but he tries to counter it by bringing fresh instrumental heroics into play. Morello does a solid job of this, neither standing out nor sinking into the mix. Harry’s Place is a neat example of what Springsteen and Morello can do together.
From the surprising lyrical rage which burns through to the whining guitar which redefines the inevitable brass additions, the reimagining at work here is both fascinating and enjoyable to listen to. Revisiting these works has Springsteen find a connection between the song in question and themes of the past. Albums worth of exploring those subjects, and the reflection which comes, often decades later. American Skin (41 Shots) is a standout moment, a chance for Springsteen to explore the horrors of police brutality and racism. It could have been his The Death of Emmett Till, had it been released at the time of the acquittal of those four police officers. A song of subtleties and of raging accountability. High Hopes is filled with these early high points, and listeners would be forgiven for bracing themselves for the comedown.
It never comes. High Hopes is a tremendously welcome surprise. A mean streak is the best part of High Hopes, an album which features Down in the Hole, providing a clear layer of menace. A few muted moments on This is Your Sword threaten to collapse the project, but by this point, a few shortcomings are expected. Sword and shield, the half-hearted attempt to bring about some medieval conquest as a modern-day retelling, does not quite work out. Springsteen brings it back to that familiar quality, though. A brief stop-off with lesser material is a given; not every track can be perfect. A song like Hunter of Invisible Game pieces those new instrumental flourishes with a dependable, knowable story.
Where High Hopes is not as complete a project as would be wanted from Springsteen, it is about as complete a sound as it gets for the songwriter at this time. He revisits old song, retreads the ground which was farmed of quality works in previous years, and comes out the other side with a welcome collection of worthy pieces. Once more Springsteen returns to the open road, those trail songs of violence and desperation, as heard on this remodelled The Ghost of Tom Joad, share a still-roaring side of Springsteen. Morello is a fine addition to these songs, and even then, Springsteen can hold his own on the songs he takes as a solo artist. This is a welcome continuation of the qualities revived on Wrecking Ball, and it, along with High Hopes, would be the starting point for a consistent twilight period for The Boss.
