Bob Dylan. Nick Cave. Leonard Cohen. What have they all got in common, apart from the obvious? The obvious being, of course, I’ve been involved in organising tribute nights to all of them. And now, it’s Bruce Springsteen’s turn to be inducted into the Fergusonian Hall of Rock and Roll Fame: mark Saturday, 25th November in your diary, because that’s when you can hear four of Edinburgh’s finest bands pay tribute to the Boss.
However, this night’s very far from being about me. For a start, I think it was legendary guitarist Kenny Mackay who first suggested it, and despite being involved in other bands, he’s been drawn back into Isaac Brutal for the night to add his own unique axe-troubling style to our set.
Secondly, though, this wasn’t exactly the hardest sell in the world to other musicians. Leith Depot’s a great wee venue – the Brutals had a great time, and arguably gave one of our best performances there, back in March, when we supported Véloniños along with Elvera and the Arcatis. And Bruce’s songs – well…
I remember, back when I was a student, reading a review of a Nils Lofgren album, that said something like, ‘If you think all Springsteen songs are about, girls, speed and night, listen to Nils Lofgren.’ Back in the early 80s, it was perhaps easy to categorise a lot of Springsteen songs that way, and I grew up listening to those classic early albums Born to Run, Darkness on the Edge of Town, and The River.
In many ways he made much more sense as a hero for me than Dylan, whose own first imperial phase coincided with my drooling a lot, throwing food, and generally being a toddler. Born to Run, on the other hand, hit the record shops (as they were known then) in 1975, when I was 13; Darkness on the Edge of Town when I was 16, that year of rebellion and ridiculously hard maths exams. Complicating things at the time were bands like the Stranglers proclaiming that there were no such things as heroes (No More Heroes being released a year later, in 1977). It was interesting to read more recently that Springsteen was acutely aware of punk’s rise, and was painstaking in his song choice for Darkness (still one of my favourite albums) to reflect the rock n’ roll toughness that he tuned into, coming from the likes of the Ramones.
As I think I’ve said before, I’ve never quite forgiven two of my Uni pals for going off and queuing for tickets to see Springsteen at the Playhouse when he toured The River. To be fair, I suppose, mobile phones hadn’t been invented then, so getting me down there too would’ve involved one of them chancing his place in the queue to run to the phone box on Greenside Place, remembering my number out of his own head, phoning the payphone on my floor in student halls, and hoping someone would pick up that wasn’t too drunk or too stoned to pass the message on. Not surprising really, then, that I missed what was to be my last chance to see The Boss outside of a stadium gig.
Those are just my few reflections on his early work. However, you’ll all have memories of the vast Springsteen canon, and how it first touched you: the huge, gated drums and synth intro of Born in the USA, for example, misappropriated by the Reagan campaign, much to Bruce’s Democrat-voting chagrin; the more downbeat, reflective early 90s albums, Human Touch and Lucky Town; or the haunting, Steinbeck-inspired Ghost of Tom Joad. Springsteen’s work perhaps doesn’t have the sprawling span of some of the other greats, but it’s certainly harder to categorise than being all girls, speed and night.
And of course he’s still working: his latest album, High Hopes, came out in 2014, and besides a well-received autobiography he’s currently performing an 8-week run of his songs interspersed with the stories behind them on Broadway – coincidentally, ending the day after our tribute night.
In the lead up to Bruce Almighty I hope to bring you some interviews with members of the bands that are providing your night’s entertainment on Saturday 25th. In the meantime, feel free to share your own comments and thoughts on the Boss, his music, and anything else you feel like, really!