Springsteen’s collaborative new record doesn’t live up to title

 Bruce Springsteen

High Hopes

Grade: C+

Sounds like: 2014 Bruce Springsteen covers 1995 Bruce Springsteen

Whether you’re a casual fan or a starry-eyed fanatic who has followed the 64-year-old rocker since the Asbury Park, N.J., days, there is one fact that can’t be denied: Bruce Springsteen has certainly stood the test of time. A fixture on any classic rock radio station and idolized by many in the music world  — from punk rockers like Ted Leo to jam band legends like Trey Anastasio of Phish to country superstar Eric Church, who released his ode to The Boss, “Springsteen,” back in 2011 — Springsteen’s influence can be felt across a number of different genres.

From the heartland rock ‘n’ roll of “Born in the USA” to the country-folk vibe of “Nebraska,” Springsteen’s albums have exhibited the same diversity as the scope of his fanbase. In High Hopes, his 18th studio album, Rage Against the Machine guitarist Tom Morello brings a heavier feel to Springsteen’s sound — one that is almost distracting. Although energetic, the heavier distortion and metallic riffs are overbearing and seem out of place on a Springsteen album, especially for those listeners that are used to hearing E Street guitarists Steven Van Zandt or Nils Lofgren. 

It would not have been fair to expect a release that rivaled Born to Run. This latest release is a collection of covers, along with re-recorded versions of tracks from former albums and concert set lists. Evidently, Springsteen is focusing more attention on touring nowadays than putting out highly acclaimed studio albums. 

On his website, Springsteen described his new album as a collection of his best unreleased material from the past decade or so. But considering what a lackluster decade it’s been for the rock legend, those words ring hollow. Nevertheless, “Frankie Fell in Love,” the seventh track on High Hopes, is worthwhile. A lyrically light love song written by Springsteen circa the Darkness on the Edge of Town era, it does well to remind fans of the striking quality of his work from that time period. 

Springsteen and his “muse,” Morello, have given “The Ghost of Tom Joad” a new twist when they have performed the song together on the road. Morello gives this tune — first released in 1995 on the album of the same name — an extra kick on “High Hopes” with some hard rock guitar licks and backing vocals. Although it’s not the same type of raw energy Springsteen usually puts into his songs, it is certainly worth a listen, if only to provide the perfect example of Morello’s influence on this new album.  

“American Skin (41 Shots)” rounds out the list of noteworthy revived originals, and although it was a noble effort to cut a studio version of the song (it first appeared on Live in New York City), it fails to live up to the previously released live version. Springsteen’s vocals sound far-fetched, even synthesized, in this studio cut, and display none of the depth and honesty with which he sings in the live performance. 

“High Hopes,” the title and leadoff track, is an intense cover of a song first recorded by eclectic ’90s rock band Havalina. The song features a heavy dose of Morello’s screeching guitar work, along with some overpowering background vocals. “Dream Baby Dream,” a cover from the band Suicide, is heartwarming, if a bit plain and bankrupt instrumentally. Nevertheless, it is a well-selected cover by Springsteen that lends itself perfectly to his voice.

Clarence Clemons, the late, legendary saxophonist of the E Street Band is featured on “Harry’s Place” and “Down in the Hole,” both of which were first recorded by the E Street Band years ago. Morello’s guitar has been overdubbed into these songs, and though he is an exciting guitarist, the guitar hero hardly fits into the world of Bruce Springsteen — if that wasn’t evident on tour, it certainly is on High Hopes. 

Although the exact opposite is true in his live shows, Springsteen has failed to capture the younger generations or keep his older fan base engaged with his recent studio work. For the die-hards out there, High Hopes is worth a listen, but it’s an album that will likely vanish into The Boss’ larger canon without making much of an impact on his legacy.