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Better Together
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Editorial Reviews
From Publishers Weekly
Now in his 50s, the Boss, aka Bruce Springsteen, is selling more records and concert tickets than he did in his 20s—proving his fans' admiration runs deep. Editor and journalist Guterman (coauthor of The Worst Rock-and-Roll Records of All Time) poignantly expresses his own love of the man and his music in this warm, absorbing collection of seven essays. He takes readers through a song-by-song analysis of Springsteen recordings and concerts going back to the 1970s. He weighs the relative merits of song selection, concert length and venue, and duly notes the comings and goings of various band mates, wives and girlfriends. Yet for all his admiration, Guterman doesn't get lost in minutiae or mired in nostalgia. He chattily discusses such topics as the shift in Springsteen's music starting with Born to Run, as it became more traditional, mainstream "white rock'n'roll"; and Springsteen's uneasy back-and-forth between "pure artistic statements" like Nebraska and The Ghost of Tom Joad and more "frankly commercial enterprises" like Born in the U.S.A. With subtle wit, real emotion and exactly the right combination of journalistic street smarts and music fan geekiness, Guterman has scored a success. (July)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From Booklist
As the subtitle makes clear, this is about Bruce Springsteen's music; its perspective is that of a selfroclaimed "literate fan." Throughout, Guterman addresses Springsteen's strength--his consistency--and weakness--his musical conservatism. Though the curtain rises on the controversial Vote for Change 2004 tour, when Springsteen and like-minded musicians crisscrossed the country for Democratic presidential challenger John Kerry, Guterman comments on Springsteen's body of work: the "friendliness" of Greetings from Asbury Park, N.J., the optimism of Born to Run, and so forth. He discusses Bruce the Artist, who mostly pleases himself, and Bruce the Performer, everyman's favorite rock and roller, and how these "Two Bruces" have taken turns throughout his career, one releasing pure artistic statements, and the other blatantly commercial product. He dissects even such stinkers as Human Touch ("boring" and full of "genuinely not-good songs"), seeming surprised, indeed almost offended, that Springsteen could have a bad record in him. Still, Guterman points out, in almost every live performance, Springsteen lives up to impossibly high standards. A must for Bruce fans. June Sawyers
Copyright © American Library Association. All rights reserved
See all Editorial Reviews
Now in his 50s, the Boss, aka Bruce Springsteen, is selling more records and concert tickets than he did in his 20s—proving his fans' admiration runs deep. Editor and journalist Guterman (coauthor of The Worst Rock-and-Roll Records of All Time) poignantly expresses his own love of the man and his music in this warm, absorbing collection of seven essays. He takes readers through a song-by-song analysis of Springsteen recordings and concerts going back to the 1970s. He weighs the relative merits of song selection, concert length and venue, and duly notes the comings and goings of various band mates, wives and girlfriends. Yet for all his admiration, Guterman doesn't get lost in minutiae or mired in nostalgia. He chattily discusses such topics as the shift in Springsteen's music starting with Born to Run, as it became more traditional, mainstream "white rock'n'roll"; and Springsteen's uneasy back-and-forth between "pure artistic statements" like Nebraska and The Ghost of Tom Joad and more "frankly commercial enterprises" like Born in the U.S.A. With subtle wit, real emotion and exactly the right combination of journalistic street smarts and music fan geekiness, Guterman has scored a success. (July)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From Booklist
As the subtitle makes clear, this is about Bruce Springsteen's music; its perspective is that of a selfroclaimed "literate fan." Throughout, Guterman addresses Springsteen's strength--his consistency--and weakness--his musical conservatism. Though the curtain rises on the controversial Vote for Change 2004 tour, when Springsteen and like-minded musicians crisscrossed the country for Democratic presidential challenger John Kerry, Guterman comments on Springsteen's body of work: the "friendliness" of Greetings from Asbury Park, N.J., the optimism of Born to Run, and so forth. He discusses Bruce the Artist, who mostly pleases himself, and Bruce the Performer, everyman's favorite rock and roller, and how these "Two Bruces" have taken turns throughout his career, one releasing pure artistic statements, and the other blatantly commercial product. He dissects even such stinkers as Human Touch ("boring" and full of "genuinely not-good songs"), seeming surprised, indeed almost offended, that Springsteen could have a bad record in him. Still, Guterman points out, in almost every live performance, Springsteen lives up to impossibly high standards. A must for Bruce fans. June Sawyers
Copyright © American Library Association. All rights reserved
See all Editorial Reviews
Product Details
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