Darkness on The Edge of Town
Bruce Springsteen
Score:71
Reviewer: Justin Pearsall
Label: Columbia (USA, UK & Australia)
Reviewed: Oct 1st '07, Released:1978
The three year gap between Born to Run and Darkness on the Edge of Town was a long wait for fans. Drawn out by legal battles, when the time came to record Springsteen had a number of tracks to choose from, his eventual selections rejecting the radio-friendly hits of the predecessor, favouring a hard sound and bleak outlook. Critics have generally praised these changes for their maturity and artistic growth, some aficionados even arguing for the record’s status as Springsteen’s crown jewel. Yet its rejection of anthems and seeming melodic disinterest makes Darkness on the Edge of Town a particularly difficult listen.
Opening with ‘Badlands’, the track closest to the highs of Born to Run, its heavy production and the thick sound of Springsteen and Steve Van Zandt’s harmonies make it an easy, but not entirely representative, introduction to the album. Even with the similarity in sound between the records, two main differences are apparent on ‘Badlands’, both existing throughout Darkness. The first is Springsteen’s lyrical pessimism, a barren outlook that more often spills into anger offering no resolution.
The second and most pronounced change however is the harder instrumentation. Where Born to Run was characterised by classic rock piano arpeggios and the soulful sound of Clarence Clemons’ sax, Darkness prefers hard rock guitar leads and dense rhythms from drummer Max Weinberg. These qualities, hinted at on ‘Badlands’ are elaborated on ‘Adam Raised a Cain’. The song, a hard-driving blues stomp, is musically weighty, trading the melody and rousing choruses that popularised Springsteen for a grinding rhythm.
For the casual Springsteen fan Darkness on the Edge of Town is not the ideal starting point. Far more than the mega successes of Born in The USA or Born to Run, Darkness requires repeat listens for its charms to become apparent. And while pundits may enjoy the challenges of the album, Springsteen seems at his best when he’s belting out choruses, plain-faced and impassioned, rather than hiding these gifts away.
