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According to these ladies of the night, even love isn’t built to last, “It falls apart so easy/ And you know hearts these days are cheap.” Suki Lahav’s overdubbed falsetto ushers the track to a haunting climax, as Bruce softly whispers that a new dawn means leaving behind his “little Eden” on the Jersey Shore: “The aurora is risin’ behind us…This boardwalk life for me is through/ You know you oughta quit this scene too.”Ĭhanneling this theme of ephemeral love, Spanish Johnny learns a painful lesson in “Incident on 57 th Street.” As Johnny patrols the underworld streets with “Porto Rico Jane” on his mind, the “hard girls over on Easy Street” unflinchingly deliver some rotten news. Amorous ballad ∴ th of July Asbury Park (Sandy)” has Springsteen vying to reconcile the transience of interpersonal connection (“Love me tonight/ For I may never see you again”), with a yearning for elusive permanence (“Love me tonight/ I swear I will love you fuh-eh-eh-vahhh”). After eliciting a boisterous call-and-response from the grandstands (“everybody form a line!/ airy body forma lieee-ahnnn!”), Bruce lets loose a cracking, pitchy yelp, “doin’ that E street shuuuuhfuhhhaallll!” The scene’s bumping, the crowd’s young, and everyone’s all smiles.īut nothing lasts forever.

Leading with a jazzy New Orleans coronet and Gary Tallent’s funky bass, Springsteen populates the track with “teenage tramps in skin-tight pants” boy-prophets walking “handsome and hot” and “blonde girls pledged sweet 16.” Congregations of miscreants hoot and holler in the background, as the E Street Band rises above the din alongside Bruce’s scorching guitar riffs and Clarence Clemens’ naughty saxophone. On opening cut “The E Street Shuffle”, Springsteen recalls the jaunty and waggish scenes of his youth. He knows the fun can’t last, and, more importantly, that unless he acts fast he’ll end up a shell working double shifts at the Shell off Route 72. Springsteen, though cherishing his last lazy days with these childhood chums, is confronted by sadness and bittersweet nostalgia. They’re the colorful, carefree kids that Springsteen loves with all his heart, but ultimately sees as doomed by socioeconomic shackles and the fast approaching burdens of adulthood. The former comprises Bruce’s buddies and flames. There’s the passionate, hyperactive, low class delinquents living their Jersey Shore lives to the fullest and those seeking to avoid a claustrophobic hometown future through exodus and cunning. WIESS champions two distinct character types. It’s this haphazard blend of Black and White freewheeling riffs and deft arrangements naïveté and weltschmerz that drives Springsteen’s poignant portrait of escapades beneath the Jersey boardwalk and escapes to parts unknown. WIESS, which turns 40 this week, is the E Street band’s most visceral and eclectic offering, and it’s no coincidence that the LP coincides with the band’s high water marks of spontaneity and heterogeneity. The impending departures of frenetic drummer Vini “Mad Dog” Lopez and piano man David Sancious rendered the ragamuffin sextet roughly two shades whiter, while the 14-month recording cycle of Born to Run traded youthful recklessness for seasoned precision. Not only does this snapshot capture the band at their most rowdy and jocular, it’s also their pinnacle of ethnic and racial diversity. There’s a pair of pasty caucasians, two beefy black guys, a lanky latino, and a scrawny, bronzed, struggling singer-songwriter that couldn’t be called The Boss without a healthy dose of irony. Not a single E Street Band member is standing up straight, two sport provocatively unbuttoned blouses, and their footwear ranges from Cuban heeled boots to scruffy Hi Tops and dusty bare feet. The back cover of Bruce Springsteen’s The Wild, The Innocent and The E Street Shuffle ( WIESS) reveals a motley crew.