Note: As of 10/14/2011, this post has been re-titled (for the second time) and re-posted to coincide with PART 2, which is being published for the first time later today. If you've been a faithful reader of WPFF, you may have already read this, and have been eagerly waiting for the Hungry Preacher's analysis of Springsteen's album titles from "Tunnel of Love" to "The Promise." That post is going through final proofs, and is on my "before I go to bed tonight" list. Sorry for the confusion.
Willpreachforfood.com has literally scores of readers, whose interests range from “things” to “topics” to “themes”. This being the case, some of my posts will necessarily be at least a little bit niche, so as to satisfy even the least mainstream of readers. Today, I cater not to the masses, but to the little guy, provided that little guy happens to be a fan of Bruce Springsteen.
Springsteen is a songwriter—but he’s also a writer of albums. And independent of the collective quality of the songs that he assembles for each of his albums is the quality of something else: the names of his albums. Like the albums themselves, some of the names of the albums work better than others, and I aim to sort out which ones work and which ones work less (to put it nicely).
The criteria are as follows, with each album’s name being scored from 1 to 6 guitar strings:
Pop: Does the name of this album “stand out”? Does it grab you with its first impression and distinctiveness? Or could it just as easily be the name of any album by any artist?
Appropriateness: First we’ll consider the theme of each album, apart from the album title. Then we’ll ask, “Does the name of the album communicate the theme of the album?” This is a tricky question, because the name of the album could either reflect the overt theme of the album (e.g., “Darkness on the Edge of Town”) or it could itself help define the theme of the album (e.g., “The Rising” could have been called something less hopeful, and neither name would have necessarily been worse than the other; it just would have been a matter of the “feel” of the album that Bruce wanted to present). So I’ll try to take into account artistic license in this category, but not so much that I grant uncritically that the title necessarily communicates the theme, just because that’s what the artist has decreed.
Memorability/Longevity: Does the name stand the test of time? Or did is start with a bang then take the first train to Forgettableville?
Alternatives: Given that Bruce is usually inclined to name his albums after a track on the album, what were some leading alternatives? Would any of them have made for a better name for the album? If there were better choices, the title will score low here, even if--in a vacuum--the chosen title is not bad.
Willpreachforfood.com has literally scores of readers, whose interests range from “things” to “topics” to “themes”. This being the case, some of my posts will necessarily be at least a little bit niche, so as to satisfy even the least mainstream of readers. Today, I cater not to the masses, but to the little guy, provided that little guy happens to be a fan of Bruce Springsteen.
Springsteen is a songwriter—but he’s also a writer of albums. And independent of the collective quality of the songs that he assembles for each of his albums is the quality of something else: the names of his albums. Like the albums themselves, some of the names of the albums work better than others, and I aim to sort out which ones work and which ones work less (to put it nicely).
The criteria are as follows, with each album’s name being scored from 1 to 6 guitar strings:
Pop: Does the name of this album “stand out”? Does it grab you with its first impression and distinctiveness? Or could it just as easily be the name of any album by any artist?
Appropriateness: First we’ll consider the theme of each album, apart from the album title. Then we’ll ask, “Does the name of the album communicate the theme of the album?” This is a tricky question, because the name of the album could either reflect the overt theme of the album (e.g., “Darkness on the Edge of Town”) or it could itself help define the theme of the album (e.g., “The Rising” could have been called something less hopeful, and neither name would have necessarily been worse than the other; it just would have been a matter of the “feel” of the album that Bruce wanted to present). So I’ll try to take into account artistic license in this category, but not so much that I grant uncritically that the title necessarily communicates the theme, just because that’s what the artist has decreed.
Memorability/Longevity: Does the name stand the test of time? Or did is start with a bang then take the first train to Forgettableville?
Alternatives: Given that Bruce is usually inclined to name his albums after a track on the album, what were some leading alternatives? Would any of them have made for a better name for the album? If there were better choices, the title will score low here, even if--in a vacuum--the chosen title is not bad.
A couple of other notes:
-Most of the time, when I refer to a title track, I am referring to it as a title. If I'm referring to it as a song, I try to mention that (e.g., this is something that I could write: "'Born to Run' is a great image and completely works. It's a shame that the song 'Born to Run' didn't chart higher.")
-I did not critique titles of live albums or compilations of hits and/or unreleased songs. Hence, no "Tracks," "The Essential Bruce Springsteen," "Chimes of Freedom," et al.
So, without further ado:
1. GREETINGS FROM ASBURY PARK, N.J. (1973)
Pop: The font on the postcard on the album cover is 3-dimensional looking, so there’s some pop there. And the title is more distinctive than just “Greetings from N.J.” would have been. Yeah, I’m reaching. Maybe there’s some irony being captured, since “Who would want to send a post card from Jersey?”—and the existence of irony provides pop. Yes, still reaching.
2 strings out of 6
Appropriateness:
*What’s the theme of this album?
Springsteen introduces us to characters, to his stomping grounds, and to himself as a songwriter. Lots of stories and images. “Growin’ Up” gives the album a more autobiographical feel than is actually present.
*Does the album title capture this theme?
Yes, in a generic sort of way. See, it was his first album, and he called it “Greetings from…” then put the place where he was from! Get it? So it’s appropriate in a literal sort of way. But by that standard, so would the album title “My First Album”. There is something of a “We’re Really Just Trying to Figure This Out” vibe to the title, and the songs reflect that adolescent search for a voice. Was this appropriateness even intentional? Hard to say.
2.5 strings out of 6
Memorability/Longevity: As I reflect on this title and how it has stood up over the years, I realize that I’ll always think of “Greetings From Asbury Park, N.J.” as “The Album that I Wish Had Been Named Something Else.” The title is more timeless than some album titles, like REO’s “You Can Tune a Piano But You Can’t Tuna Fish,” so that’s something. As it stands, the most longstanding question this title raises is “Were you silly-drunk with your friends at 3:00 in the morning, or were you tired and just trying to get your impatient record producer to stop nagging you for a title?”
2 strings out of 6
Alternatives: N/A. Since this album isn’t named after a track, I wouldn’t feel right imposing that “named after a song” concept retroactively. But just for kicks, if Springsteen wanted something to capture his roots, maybe a simpler title like “Jersey” or “From Jersey” or “Asbury Park” or “New Jersey.” This last suggestion, of course, begs the question of what Bon Jovi would have titled their follow up to their “Slippery When Wet” album, but even I’M not so tangential to explore that question (not in THIS post, anyway).
Average Strings for the Title: "Greetings from Asbury Park, N.J.":
2.17 strings out of 6
2. THE WILD, THE INNOCENT AND THE E STREET SHUFFLE (1973)
2. THE WILD, THE INNOCENT AND THE E STREET SHUFFLE (1973)
Pop: It’s at least more piquing of interest than “Greetings,” if one were to take the time to read the whole title. It still sounds like another way of saying “We’re a Band!” but at least it’s a band with some character. It’s just long as heck.
3 strings out of 6
Appropriateness:
*What’s the theme of this album?
More stories, more imagery, and more off-the-beaten-path instrumentation. Stevie Wonder’s “Songs in the Key of Life” actually would serve well as a theme for this album, perhaps with the addendum “…life on the streets of Jersey, that is”. Is that too long of a theme? How about, “Oddballs looking for their place”?
*Does the album title capture this theme?
Weirdly so, actually. The cumbersome and odd title of the album nicely mirrors the lyrics and arrangements of the tracks. And each component of the title is mirrored by a specific song title on the album: “Wild Billy’s Circus Story,” “Incident [sounds like ‘Innocent’] on 57th Street,” and “The E Street Shuffle."
5 strings out of 6
Memorability/Longevity: I have a better lasting impression of this album title than I did an initial impression. The title captures the experimental and identity-seeking vibe of the times that “Greetings…” was trying to capture, but in a more layered sort of way. On the minus side, there’s no easy shorthand way for fans to refer to this album as they look back: “Greetings…” at least lends itself to being called, well, “Greetings.” But this one—whew, it’s just so long.
5 strings out of 6
Alternatives: N/A.
Average Strings for the Title: "The Wild, the Innocent, and the E Street Shuffle":
4.33
3. BORN TO RUN (1975)
3. BORN TO RUN (1975)
Pop: Long titles lend themselves to distinctiveness (see #2 above). Short ones lend themselves to jumping out at you. A short title that is also distinctive, capturing something new? Wow. I would love to take a time machine back and see what impression the title “Born to Run” would have had on me on first hearing. As it stands, I don’t remember actually hearing it for the first time—I’m sure I stumbled across it in print or heard it mentioned enough times that it finally started registering. But I would like to be listening to the radio in 1975 and hearing the DJ say, “This is the title track from the new album by Bruce Springsteen called ‘Born to Run’.” What would I have thought of that title? I’m pretty sure I would have at least thought, “That’s a heck of an image. I gotta hear that.” Short, sweet, new, profound, jarring.
6 strings out of 6
Appropriateness:
Running, drifting, wandering, escaping. Being alone and/or misunderstood. Not fitting in. Running—away, yes, but also towards something—be it into the “Night,” out on the “Backstreets,” or down “Thunder Road”. Running to where you think you’ll have a better chance of finding something or someone that will validate who you are.
*Does the album title capture this theme?
Yes. Being “born” to do something can be constraining or even hopeless feeling. But if that thing you were born to do is “run” towards “that place where we really want to go”? There is hope there. “Born to Run”: three words that perfectly captured the paradox of hopeless hopefulness that is this album.
6 strings out of 6
Memorability/Longevity: Fair to say the name caught on. It’s familiar enough to be a cliché, but honored enough to be seldom used as one. I’ve heard, read, or uttered the phrase “Born to Run” thousands of times, but it doesn’t take more than a moment of contemplation for me to recognize the mystique of the name. For a name to cut through years of familiarity like that… whew. This is the album name, period.
6 strings out of 6
Alternatives: None better than what he picked. “Thunder Road” is an obvious second choice, but distant second. “Jungleland” or “Backstreets” could have worked in a pinch. But, no, there was nothing better that this album could have been named.
6 strings out of 6
Average Strings for the Title: "Born to Run":
6 strings out of 6
4. DARKNESS ON THE EDGE OF TOWN (1978)
Pop: Long titles have a lot to make up for in the “pop” department (insert your own “long blog post” joke here), so they’d better be especially gripping. This one is only moderately gripping, though I’ll concede an extra measure of subjectivity in this assessment. Personally, the word “town” is just too nondescript. I’m from a city, which I grew up thinking was a synonym for “town”. So when I see this album title, I imagine what I think a “town” is, then imagine myself getting to the edge, and what do I see? Suburbs. Not very evocative. So from my neck of the woods, “Darkness on the Edge of Town” is generic and wordy—two traits quite the opposite of “having pop”.4. DARKNESS ON THE EDGE OF TOWN (1978)
2 strings out of 6
Appropriateness:
*What’s the theme of the album?
In a word, “darkness” (though “bitterness” and “angst” will also be accepted). Almost every song has at least one soul-piercing line. My favorite is from “Racing in the Street”: “She stares off alone into the night / with the eyes of one who hates for just being born.” Then there’s this from “Something in the Night”: “You’re born with nothing and better off that way / as soon as you got something they send someone to try and take it away.” Oh, oh, and there’s “Streets of Fire”—the very first line to which is “When the night’s quiet and you don’t care anymore.” And it just kinda goes from there. From track 1 to track 10, you get the feeling that Bruce spent a lot of time wishing that Prozac had already been invented, but settled instead on solitude, six-packs, and his song-writing notebook.
*Does the album title capture the theme?
That, it does. Should be pretty clear, but if you're not seeing it, come see me after class and we can talk.
6 strings out of 6Memorability/Longevity: Often referred to by fans simply as “Darkness…” which is history’s way of saying, “This album title is too long.” As details of Bruce’s personal and legal battles during this time emerged, the shorthand title actually seems to capture the album better than the long version does. In other words, what it was actually named has not grown on me, but the fan-abbreviated name for it
2.5 strings out of 6
Alternatives: “Badlands” is probably the best-known and most-loved song from this album. In concert, it often seems as appreciated by fans as “Born to Run” or “Thunder Road” are. Additionally, both the title and lyrics of “Badlands” effectively reflect the darkness of the album, but it’s shorter and more distinct than “Darkness on the Edge of Town”. Beyond "Badlands," “Something in the Night” would be a darkhorse candidate; its title is as generic sounding as “Darkness on the Edge of Town,” but a little bit shorter—plus the song always struck me as truer sounding than “DOTEOT” (I just can’t type the whole name anymore!). So there was one very good alternative and probably 2-3 decent ones.
2 strings out of 6Alternatives: “Badlands” is probably the best-known and most-loved song from this album. In concert, it often seems as appreciated by fans as “Born to Run” or “Thunder Road” are. Additionally, both the title and lyrics of “Badlands” effectively reflect the darkness of the album, but it’s shorter and more distinct than “Darkness on the Edge of Town”. Beyond "Badlands," “Something in the Night” would be a darkhorse candidate; its title is as generic sounding as “Darkness on the Edge of Town,” but a little bit shorter—plus the song always struck me as truer sounding than “DOTEOT” (I just can’t type the whole name anymore!). So there was one very good alternative and probably 2-3 decent ones.
Average Strings for the Title: "Darkness on the Edge of Town":
3.13 strings out of 6
5. THE RIVER (1980)
5. THE RIVER (1980)
Pop: There’s no nice way to put this. It’s as though Springsteen was going for generic. Would it have been too much to ask for him to have given a name to this river? Or, if the river doesn’t have a name, there’s even a way of saying that that has more pop: the “River Without a Name”. In fact, Springsteen uses that phrase in “Shut Out the Light,” an outtake from “Born in the U.S.A.” so we know he’s familiar with it. Instead, he went with the most overdone, bland name that has ever referred to any body of water—and perhaps even to any geographical feature whatsoever. Boo.
1 string out of 6Appropriateness:
*What’s the theme of this album?
Time for me to show my cards: “The River” has often been my least favorite Springsteen album (“often” because the list changes now and again). So my answer to “What is its theme?” is going to reflect my opinion of the album. Is “Bruce wants a radio hit” a theme? That’s often what the album sounds like to me. Not even “Born to Run” (the song) hit the charts like it deserved to (peaking at #23), and “Darkness…” (the album) failed to produce a bona fide hit. So next came “The River,” a double disc packed full of 3-4 minute tracks written in the radio-friendly “verse-chorus-verse-chorus” structure. Gone is much of the quirky but effective imagery of Bruce’s first 4 albums. Gone also is much of the layered and surprising instrumentation of those albums. Sadly—for me, at least—much of it was never to return. “The River” marks a shift in Bruce’s songwriting, let’s say from “epic imagery” to “chorus based” songs. My preferences aside, there’s nothing inherently wrong with that shift; but it appears that Bruce was still getting the hang of both writing these types of songs and piecing them together in a coherent album. This is especially apparent when “The River” is compared with two of Bruce’s later albums, “Born in the U.S.A.” and “Tunnel of Love,” both of which are superior and more thematic collections of “chorus based” songs.
*Does the album title capture this theme?It seems to depend on who you ask. Peter Nelson wrote in his "Rolling Stone" review: “Bruce Springsteen didn't title his summational record The River for nothing. Each song is just a drop in the bucket, and the water in the bucket is drawn from a river that can take you on a fast but invigorating ride, smash you in the rapids, let you float dreamily downstream or carry you relentlessly across some unknown county line." If you ask me, I’d say that’s reading a lot into “The River.” I would suggest the title is more appropriate when you consider that rivers are “catch alls”—all sorts of driftwood and debris float from streams into rivers, and rivers don’t discriminate what they carry along. This double-album catches a little bit of everything and the ensuing mixture creates one of Bruce’s most theme-less albums. So “The River” is actually a pretty appropriate title for this hodgepodge collection of tunes, but not likely in the way that Springsteen intended. We’ll average out “intended appropriateness” with “unintended appropriateness,” and call it...
3.5 strings out of 6
Memorability/Longevity: None to speak of. Just sayin’.
1 string out of 6
Alternatives: It’s hard to find a track on this album that would NOT have been a better title to the album. Here’s a few, and why they would have been better:
Alternatives: It’s hard to find a track on this album that would NOT have been a better title to the album. Here’s a few, and why they would have been better:
“Independence Day”: Song is about breaking free from expectations. This album is a marked break from the styles (and lengths) of his previous albums. “Independence Day” could have communicated that, hey, he knows that, and he’s not apologizing for it. He’s a grown up and can do what he wants to do.
“Out on the Street”: Captures the playful exuberance of the album
“Point Blank”: Cliché like “The River,” but a better cliché and a better song.
“I’m a Rocker”: Overt acknowledgement of song style shift; “This is an album of rock songs.”
“Fade Away”: Ironic and gutsy choice. What musician wants to fade away? Could have been his way of saying, “I’m so NOT afraid of fading away that I’m going to call my album that.”
“Drive All Night”: Subversive reference to the length of the album, and certainly more evocative than “The River”
2 strings out of 6
Average Strings for the Title: "The River":
Average Strings for the Title: "The River":
1.88 strings out of 6
6. NEBRASKA (1982)
6. NEBRASKA (1982)
Pop: High, especially for Nebraska residents. And it’s obviously not a “home state shout-out”, so curiosity is all the more piqued. “Why ‘Nebraska’, of all states?” a 1982 Springsteen fan surely wondered, perhaps even with a giddy anticipation.
5 strings out of 6Appropriateness:
*What’s the theme of this album?
This is the first of 3 Springsteen albums comprised largely of first-person stories accompanied by understated instrumentation and choruses. The characters have been through hard times (and/or caused them for others) and have been laid bare. The narration—like the instrumentation—is stripped down, but still vivid and often jarring (e.g., “He came home too drunk from mixing Tanqueray and wine / got a gun shot a night clerk now they call him Johnny 99”).
*Does the album title capture this theme?
You bet. Nebraska—the state, the song, and the album—is a flat landscape providing no hiding place for the troubled souls it collects. You may hide in the crowds of California, the caves of Kentucky, the forests of Montana, the factories of New Jersey, and the mountains of Colorado—but on the plains of Nebraska, you will be exposed for what you are. The title “Nebraska” juxtaposes the common impressions of the state seamlessly with the corresponding themes and feelings of the album.
6 strings out of 6
Memorability/Longevity: Even now, the single word “Nebraska” immediately evokes for Springsteen fans the starkness of the songs it represents. If anything, the effectiveness of the title has grown through the years as the album proved to be a drastic shift in style from both the preceding and subsequent albums. Like the great plains of the United States, “Nebraska” the album achieves its distinctiveness in part on its own merits and in part based on its surrounding landscapes; like a pioneer discovering the Rockies and looking eastward over the just-traversed plains, the Springsteen fan can best appreciate the distinctiveness of “Nebraska” looking back from the majestic peaks of “Born in the U.S.A.”. And, of course, if the pioneer looks back even further, he’ll see the river (get it?), which provides a contrasting landscape of its own.
5 strings out of 6
Alternatives: “Atlantic City” would have captured the same hopelessness but with a different brush, but it might have been mistaken for just another home-state shout out. “Nebraska” works better.
6 strings out of 6
Average Strings for the Title: "Nebraska":
5.5 strings out of 6
7. BORN IN THE U.S.A. (1984)
Pop: The familiarity of the title tempts one to underappreciate the pop of it, but as an album title it is striking. Surely informed readers of the “Born in the U.S.A.” press-release suspected that the title track wasn't merely Bruce’s rewriting of Lee Greenwood’s “God Bless the U.S.A.” But some themes of patriotism—misplaced or otherwise—had to abound, right? The title gave Bruce’s fans plenty to chew on and speculate about, but prodded its would-be interpreters to the liner notes for a thorough explanation. (And, it turns out the title may have had a hand in luring new fans into the fold.)7. BORN IN THE U.S.A. (1984)
4.5 strings out of 6
Appropriateness:
*What’s the theme of this album?
A type of patriotism is woven into this album, but rather than a love song to America, this album is an expose of the imperfect lover that America is. The American dream is enticing and Americana is endearing, but the pursuit of these ideals can lead to disillusionment or even destruction.
*Does the album title capture this theme?
Perfectly. America, like the title and cover photo of this album, is flashy on the surface, but complex and challenging underneath. One has to wonder if Springsteen titled the album as he did expecting that it would be so misunderstood (as an unconditional patriotic anthem) with the goal of subversively exposing the tendencies of Americans to see what they want to see about their country, even if the small print lyric sheets tell a different story.
6 strings out of 6
Memorability/Longevity: I’d say it lasted pretty well, with one caveat: Nearly any uber-popular piece of art runs the risk of becoming so familiar within its culture that it necessarily becomes a cliché of sorts, and that has happened a tad with “Born in the U.S.A.” No fault of Springsteen, just the reality.
5 strings out of 6
Alternatives: “Glory Days” and “Dancing in the Dark” are the other two best known tracks from this album, but neither would have done as a title: the former lacks any mystique, the latter is too general sounding, and both were more “hit singles” than album titles. One very outside-the-box choice could have been “Bobbie Jean,” the use of which might have cultivated a more layered appreciation of the song as a metaphor for losing not just the love of a friend but the devotion to a country. “Cover Me” is vague but brief, and mirrors the overt desperation communicated in some of the songs. So there may have been some options, but none that could have done what “Born in the U.S.A.” did. Good choice.
5.5 strings out of 6Alternatives: “Glory Days” and “Dancing in the Dark” are the other two best known tracks from this album, but neither would have done as a title: the former lacks any mystique, the latter is too general sounding, and both were more “hit singles” than album titles. One very outside-the-box choice could have been “Bobbie Jean,” the use of which might have cultivated a more layered appreciation of the song as a metaphor for losing not just the love of a friend but the devotion to a country. “Cover Me” is vague but brief, and mirrors the overt desperation communicated in some of the songs. So there may have been some options, but none that could have done what “Born in the U.S.A.” did. Good choice.
Average Strings for the Title: "Born in the U.S.A.":
5.25 strings out of 6
8. TUNNEL OF LOVE (1987)
Pop: Surprisingly high. A Springsteen album named after an amusement park ride? I'll buy a ticket.
4.5 strings out of 6
Appropriateness:
*What’s the theme of this album?
Love, its grittiness (see “Tougher Than the Rest”), its dark underbelly (“One Step Up”), and its demand for introspection (“Brilliant Disguise,” “Two Faces”).
*Does the album title capture this theme?
Yes. It’s a heck of a metaphor, really. When you share your life with someone you love, you are entering a tunnel and taking a ride: tunnels and rides can be exciting, adventurous, and fun; and they can be scary, full of surprises, and—depending on how far you want to take the analogy—you can’t really switch cars mid-ride without someone getting hurt. The only drawback is that the metaphor is so good that it almost feels too literal for conveying the album motif, and doesn’t quite leave enough to the imagination.
5.5 strings out of 6
Memorability/Longevity: Tunnels of love (the rides) aren’t as prevalent as they once were. I’m pretty sure I knew what one was before this album came out, but I’m not so sure my kids will. And though it spawned hits, none of the tracks get the after-the-fact attention that say, “Born to Run,” “Hungry Heart,” or “Glory Days” have received, which further compromises the long term distinctiveness of the album and, by association, the album title. Bruce fans of don’t struggle with this, of course, but as far as stimulating the popular consciousness for a prolonged period of time (an admittedly difficult feat), “Tunnel of Love” as a title is good, not great.
4 strings out of 6
Alternatives: Most of the options would have been some combination of too blunt (“When You’re Alone,” “Ain’t Got You”), too nondescript (“One Step Up,” “Two Faces”), and too inconsistent with the feel of the album (“All That Heaven Will Allow,” “Tougher Than the Rest”). “Brilliant Disguise” probably would have worked nearly as well as an album title, but it just doesn’t sound as crisp to say. “Brilliant Disguise” is also (probably) the best-known track from the album, which I generally don't approve of for title tracks—let the 2nd or 3rd best known track get the album title; it’s called spreading the wealth. “Tunnel of Love” was probably the right choice.
5 strings out of 6
Average Strings for the Title: "Tunnel of Love":
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