What people search:
 | Title : The Rising
Author : Springsteen, Bruce
Release Date : 20020730
Binding : Audio CD
Regular Price : $18.98
Amazon.com Price : $6.00
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Editorial Reviews :
Although it seemed the Boss had put writing rock anthems behind him after Born in the U.S.A., his longtime fans knew if any artist could write anthems addressing September 11, 2001, and not make them sound jingoistic, it would be Bruce Springsteen. The numerous anthems on his much-anticipated first full-length album with the E Street Band in 18 years are subtler than those of the Born to Run era. But the elements are all there: the joyous rocking strains of 'Countin' on a Miracle,' 'Mary's Place,' and 'Waitin' on a Sunny Day'; the dark overtones of 'Further on Up the Road'; the stunning guitar solo that closes 'Worlds Apart,' a dramatic Arabic-tinged piece detailing star-crossed love between a Muslim and an 'infidel.' Although most of these songs deal with death and tragedy, they still inspire. But while the lyrics are intriguing, what's more remarkable is how well The Rising works as epic rock & roll as it draws from rockabilly, soul, doo-wop hard rock, country, and even industrial. To skewer a cliché, when The Rising is good, it's great. And even when it's not great, it's still awfully good. --Bill Holdship
Buyer Reviews :
If there is such a thing as an important album to own, this is it. Using the tragedies of 9/11 as the genesis of many of the tracks on The Rising, Bruce Springsteen has delivered a group of songs that often touch us, sometimes make us dance, and ultimately console.
Few, if any, artists could create a piece of work inspired by such horrendous events with such honest sincerity without a hint of exploitation. Bruce Springsteen, however, has done it. At first glance, the subject matter might suggest a dark record wallowed in sadness and loss. While those elements are here, there is an affirmative sense of love and faith's transcendence. Having used religious imagery often in past, Springsteen uses it even more and to great effect here. He yearns for guidance in My City of Ruins when he says, 'I pray for the strength, Lord.' In essence, these songs are prayers.
The themes and sentiments alone do not make this a great album. Couple them with the music and arrangements, and The Rising is a special treat. With new producer Brendan O'Brien on board, the record has a fresh sound. Soozie Tyrell's violin is featured on many songs. And strings are used well on a number of songs, especially the resounding opener Lonesome Day. The return of the E Street Band is also part of why this record is so special. They seem to get better with age. Although a couple more Clarence Clemons' sax solos would have been welcome (see Nothing Man and Further On (Up the Road), the band sounds great. Max Weinberg and Garry Tallent remain rock's most unassuming yet powerful rhythm section.
At 52, Springsteen has made a record that is distinctly his but also fresh with new musical ideas. Besides the strings, he has guest Indian singers on Worlds Apart, a horn section on Mary's Place, and backing vocalists on Let's Be Friends (Skin to Skin). The later, despite its tepid lyrics, is a wonderful soul song that some longtime fans might scratch their heads over. But the RnB beats and Clemons' slinky sax make this not only one of his most unique songs, but extremely radio-friendly. Mary's Place will please longtime fans who have yearned for a River-esque rave up. Somehow, inserted into the album's mix of sorrowful images, Waitin' on a Sunny Day appears and makes things seem whole and happy again. This is about as infectious as a song can get. It smiles with hope and has a wonderful arrangement. The ballads work as well, especially You're Missing. They are somehow both hushed and powerful. Further On (Up the Road) and The Fuse are powerful rockers, but don't initially grab you like, say, the recent Land of Hope and Dreams, which, with a new studio version, would have been a welcomed addition.
And while the lead single and title track - a tale of rescuers going up the twin towers - is the heart of the record, Into the Fire is its soul. The chorus somehow makes the grim images of the verses fade away - not into resignation but into reconciliation. 'May your strength give us strength/Make you hope give us hope/May your faith give us faith/May your love give us love.' Again, the words are coupled with a haunting melody and a gospel like refrain - a lot like the record's closing My City of Ruins, which ends with the words 'Rise up.'
Although he's fabulously wealthy, Springsteen remains an everyman. He's a dad and a husband; he's like us in many ways. He was touched, unnerved, saddened, and frightened by the events of last September just like the rest of us. He, however, has the rare ability to channel those emotions into art. Many of the tracks on The Rising hold up against the finer songs in the Springsteen canon. That's a bold statement. It's a focused effort with a rich sound, a wall of instrumentation that still lets trademark E Street flourishes like organ and piano seep through.
Metaphorically, The Rising's name may reference Christ's resurrection. And this may not be a stretch from an artist who grew up going to church and once released an album, back
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