The Heart of Rock and Soul by Dave Marsh

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The Heart of Rock and Soul by Dave Marsh 24 BORN TO RUN, Bruce Springsteen Produced by Bruce Springsteen and Mike Appel: written by Bruce Springsteen Columbia 10209 1975 Billboard: #23 Springsteen once said that after he'd come up with this maelstrom, he walked around for the next few days wondering where he'd stolen it from. Which makes sense because "Born to Run" has the audible ambition of recapitulating the first twenty-some years of rock and roll's public history, fusing a seven-layer Duane Eddy guitar lick with Dylanesque lyrics, Roy Orbison vocal histrionics, Spectorian production effects, Stones-style rhythm section, King Curtis sax break, and subterranean references to half-forgotten one-shot hits from "Little Star" to "Mountain of Love." Critic Greil Marcus once described it as "a '57 Chevy running on melted-down Crystals records," and only the part about the car was metaphor. Celebrated as Springsteen is for his lyrics, it's the music that makes "Born to Run. " The lyrics are still remarkable, sketching a philosophy of determined outward rebellion, a desire to move, a sense of goals and purpose that skirt the edges of the larger-than-life. But this hopeful abandon is tempered by an equally powerful melancholy; the future seems so bright largely because the present's so dismal. Truth to tell, Springsteen seems most vibrant when depicting the kids cruising the Jersey strip: "The girls comb their hair in rearview mirrors and the boys try to look so hard . Kids are huddled on the beach in a mist." From bar to bar. this old crate may need a tune-up, and its pre-determined destination isn't necessarily where you want to live. But once in a while, you at least ought to spend the night and see the sights. Created: September 29, 2021 at 1.54 am at http://www.lexjansen.com with FPDF 1.81 Page 1.

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The Heart of Rock and Soul by Dave Marsh
The Heart of Rock and Soul by Dave Marsh 11 LOUIE LOUIE, The Kingsmen Produced by Ken Chase and Jerry Dennon; written by Richard Berry Wand 143 1963 Billboard: #2 Really stupid, really great. Not really dirty, but so what? "Louie Louie" is the most profound and sublime expression of rock and roll's ability to create something from nothing. Built up from a Morse code beat and a "dub duh dub" refrain, with scratchy lead vocal, tacky electric piano, relentless rhythm guitar, and drums that sound like the guy who's playing 'em isn't sure what comes next, "Louie Louie" scales the heights of trash rock to challenge the credentials of all latter-day rockers: If you don't love it, you've missed the point of the whole thing. Naturally, this Parthenon of Pop didn't spring from the head of the Muse. A Muse would probably have slain it on sight, or passed away herself from the shock of something so crude and fine. "Louie Louie" was born in much more prosaic circumstances, as the B side of "You Are My Sunshine," an R&B version of the Jimmie Davis country standard recorded by Richard Berry and the Pharoahs and released on Flip Records in 1956. Berry was a veteran Los Angeles session singer who'd sung lead on the Robins ' "Riot in Cell Block #9," the first big hit for producers Jerry Leiber and Mike Stoller. The Pharoahs were Berry's cohorts of the day, Flip his patron of the moment. "You Are My Sunshine" made only a small buzz but when L.A.
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The BG News January 31, 1980
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A Chapter in Rock History Auringer’S Photos, Design Work Featured in CREEM Tribute Book
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Reviews Springsteen on Springsteen: Interviews, Speeches, and Encounters, Edited by Jeff Burger (Chicago: Chicago Review Press, 2014
91 Reviews Springsteen on Springsteen: Interviews, Speeches, and Encounters, edited by Jeff Burger (Chicago: Chicago Review Press, 2014. 432 pages). The published interview was not invented by music journalists—it was a staple of Paris Review and Playboy, to cite two antecedents before Rolling Stone came along in 1967—but this somewhat peculiar literary subgenre has always had a special significance in rock & roll. It emerged as a culturally distinctive magazine feature in the late 1960s and early 1970s, which is to say the moment when rock & roll became rock, when it shifted from a largely unselfconscious form of musical expression to a more cerebral, avowedly artistic, one. As in so many other ways, we mark our years AD: After Dylan. In its inaugural issue, Rolling Stone’s first interview subject was Donovan. But the patron saint (or, perhaps more accurately, sinner) of the form was Dylan: charismatic, elliptical, endlessly quotable. For musicians, journalists, and readers, the interview became an arena wherein the intellectual seriousness and philosophical ramifications of rock could be staked out and elaborated—generally free from the scrutiny of those (academics and other old people) who might regard the enterprise with amusement or ridicule. By the time Bruce Springsteen came along in the mid-seventies, the rock interview had already become a fixture not only of Rolling Stone, but also sister publications Creem and Circus, which were eagerly received by adolescents like myself as bulletins from faraway worlds that were simultaneously the locus of our inner lives. A not-quite-modest pronouncement from a reigning superstar would become a proposition we would ponder, test, and adopt as our own.
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CLOCKWISE from TOP LEFT Clarence Clemons in 1980; §Ruce Springsteen and Patty Scialfa; Nils Lofgren, Clemons, Springsteen, Stev
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MC5 Back on Shakin' Street
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The Emergence of Punk Rock in Rapid City by Shawn Krush
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Bruce Springsteen: America’S Poet Laureate
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