The Boss has plenty of 'Magic' left
CD REVIEW
by KEATON T. DEPRIEST Cheektowaga Editor
When the needle lifts or the CD stops spinning, you will want to raise a fist and attempt to defend all of the downtrodden and suffering people in the world. The feeling is a regular occurrence after listening to one of Bruce Springsteen's albums, and this one is no exception.

With this follow-up of two acoustic roots-rock records, Bruce Springsteen makes a return to his own musical roots on his 15th studio album, "Magic," which was released Tuesday. He debuted the album on vinyl two weeks prior to the release of the CD and its songs on iTunes.

Purchasing a new vinyl album was a nostalgic treat for those of us who still own turntables. The vinyl edition, as in most 33-rpm records, provides a deep, full sound, as well as a foldout photograph of the current E Street Band.

"Magic," Springsteen's first album with the E Street Band in five years, is best described as a blend of "Lucky Town" and "The Rising" meeting rock 'n' roll in the 21st century. Produced by Brendan O'Brien, "Magic" is a solid example of his best work, although, one may argue that the record falls prey to overproduction. It is a fault of many records released in the new mil lennium.

Because Springsteen and the members of the E Street Band were never recorded in the studio at the same time, their vocal and instrumental portions were taped in separated sessions and dubbed together. Songs such as "Devil's Arcade" and "Your Own Worst Enemy" suffer a little from excessive string arrangements, some of which are dubbed over guitar solos. When taking a first listen at these songs, it can sound chaotic and unnecessary. After several listens, however, you are able to reach the heart of the matter in these songs - and when you do, the chord strikes heavy.

However, it is the album's only flaw. It is a record with rock 'n' roll fusing together world issues, just as Springsteen has been doing throughout his career. "Magic" holds its own when compared to "Darkness on the Edge of Town" or "The Rising," the 2002 release that was also produced by O'Brien. The diverse collection of music in "The Rising" is repeated in this new release.

"Livin' in the Future" is a "Tenth Avenue Freeze Out"-style song with flowing rhythm guitar lining the track. It is a song suited for a ride down an empty road with the windows open. Springsteen sings it with the same desperation of his early songs such as "It's Hard to Be a Saint in the City." At the core is a pure rock song with the complexities of the world written in the lyrics.

Other highlights include the guitar-heavy "Radio Nowhere," the first single from the album; "I'll Work for Your Love"; and "Long Walk Home." All three songs have guitar solos from The Boss and saxophone solos from The Big Man, Clarence Clemons. "I'll Work for Your Love" sounds like a revisit to "Thunder Road" with its plea for undying devotion in a relationship.

There is also one hidden track on the album, called "Terry's Song," which Springsteen wrote in August. A last-minute addition to "Magic," the track is not listed on the back of the album. The song was written for his working partner of 23 years, Terry McGovern, who died in July. Full of emotion, "Terry's Song" is reminiscent of the goose bump-inducing "My City of R uins."

The album will surely be a staple in the music collections of Springsteen fans and of those who appreciate rock 'n' roll. Just as with every previous album, Bruce Springsteen and the E Street Band leave us wanting more - more inspiring music as we continue in our searches for life, love and truth.