Bruce Springsteen Forum

The Ghost of Tom Joad

Aufgenommen im Sommer 1995
Veröffentlicht am 21. November 1995
Billboard - Platz 11. im Dezember 1995 erreicht

Mitwirkende Künstler:
Bruce Springsteen - Gesang, Gitarre, Mundharmonika, Bass
Marty Rifkin - Steel Guitar
Gary Mallaber - Drums
Garry Tallent - Bass
Soozie Tyrell - Violine
Patti Scialfa - Background Vocals
Lisa Lowell - Background Vocals

Produktion:
Toby Scott - Tonmeister
Greg Goldman - Aufnahmeleiter
Sandra Choron - Art Direktorin
Eric Dinyer - Cover Designer

Tracklist:
The Ghost of Tom Joad
Straight Time
Highway 29
Youngstown
Sinaloa Cowboys
The Line
Balboa Park
Dry Lightning
Across the Border
Galveston Bay
My Best Was Never Good Enough

Infos:
Bruce Springsteens zweites Solo Album wurde im Sommer 1995 in den Thrill Hill Studios, Los Angeles, Ca aufgenommen. Insgesamt hat Bruce Springsteen 35 Songs für dieses Album eingespielt.

Weitere Songs, die für "The Ghost of Tom Joad" aufgenommen wurden:
- Dead Man Walking
- Brothers under the Brodges
- Tiger Rose
- I'm Turning into Elvis
- Little Things
- Idiot's Delight *
- I'm not Sleeping *
- 1945 *
- Cheap Motel *

* Die Songs wurden von Joe Grusheky auf "Comig Home" veröffentlicht.

Das Rolling Stone Magazin schrieb 1995:
Bruce Springsteen's best music has always been about the refusal to accept life's meanest fates or most painful limitations. Springsteen charges his audience to remain brave, despite all the disillusion, defeat, injustice and fear that invariably dog the pursuit of ones hopes. For more than twenty years now, Springsteen's music has worked as a cry of courage, an emboldening reassurance that life, no matter how closefisted it many seem, is worth keeping faith in. The Ghost of Tom Joad tells a different story - or at least it looks at the story through different eyes. It's a record about people who do not abide by life's ruins; it's a collection of dark tales about dark men who are cut off from the purposes of their own hearts and the prospects of their own lives. On this album almost none of the characters get out with both their bodies and spirits intact, and the few who do are usually left with only frightful desolate prayers as their solace.
Plaintive, bitter epiphanies, like these are far removed from the sort anthemic cries that once filled Springsteen's music, but then these are not times for anthems. These are times for lamentations, for measuring how much of the American promise has been broken or abandoned and how much of our future is transfigured into a vista of ruin. These are pitiless times.
The Ghost of Tom Joad is Springsteen's response to this state of affairs. Maybe even his return to arms. In any event, this is his first overtly social statement since Born in the U.S.A.. The atmosphere created is as merciless in its own way as the world the lyrics describe, and you will have to meet or reject that atmosphere on your own terms. I'm convinced it's Springsteen's best album in ten years, and I also think it's among the bravest work that anyone has given us this decade. Tom Joad bears an obvious kinship with Spingsteen's 1982 masterwork, Nebraska. The musical backing is largely acoustic, and the sense of language and storytelling owes much to the Depression-era sensibility of Woody Guthrie. The stories are told bluntly and sparsely, and the poetry is broken and colloquial - like the speech of a man telling the stories he feels compelled to tell if only to try to be free of them. On Tom Joad, there are few escapes and almost no musical relief from the numbing circumstances of the characters' lives. You could almost say that the music gets caught in meandering motions or drifts into circles that never break. The effect is brilliant and lovely; there's something almost lulling in the music's blend of acoustic arpeggios and moody keyboard textures, something that lures you into the melodies' dark dreaminess and loose mellifluence. But makes no mistake - what you are being drawn into are scenarios of hell. American hell.
On the title track, a man sits by a campfire under a bridge, not far from the endless railroad tracks. He is waiting on the ghost of Tom Joad, the hero of John Steinbeck's Grapes of Wrath. But hopes of salvation in the mid-1990s aren't really much more palpable that ghosts, and you understand that the man sitting and praying by the fire will wait a long time before his deliverance comes. On "Straight Times," an ex-con takes a job, marries and tries to live the sanctioned life. But the world's judgements are never far off (even his wife watches him carefully with their children) and he waits for the time when he will slip back into the violent breach that he sees as his destiny and only hope.
The most affecting stories here, though, are the ones that Springsteen tells about a handful of undocumented immigrants and their passage into Southern California's promised land. On "The Line" (an achingly beautiful song with a melody reminiscent of Bob Dylan's "Love Minus Zero/No Limit), "Sinaloa Cowboys" and "Balboa Park," Springsteen creates characters who come to their fates quickly without warning or drama. In one moment their "undocumented" lives are over, and the world takes no note of their passing or shot hopes.

By climbing into their hearts and minds, Springsteen has given voice to people who rarely have one in this culture. And giving voice to people who are typically denied expression in our other arts and media has always been one of rock & roll's most important virtues. As we move into the rough times and badlands that lie ahead, such acts will count for more than ever before.

Weiterer Bericht aus dem Rolling Stone Magazin:
BRUCE SPRINGSTEEN "Ghost of Tom Joad"
Paramount Theater, Asbury Park, N.J., Nov. 26, 1996
When Bruce Springsteen brought his "Ghost of Tom Joad" tour to the Count Basie Theatre in Red Bank exactly one year ago, it was not entirely a festive affair. The singer asked the audience not to clap along, not to sing or even breathe. Even when he sang "My Best Was Never Good Enough," the one semi-humorous song on "The Ghost Of Tom Joad," the mood was heavy. Springsteen even looked tense performing the songs he described as "having silence between the spaces."
What a difference a year makes. At the conclusion of the singer's three night return to Asbury Park (which benefited three local charities), Springsteen was relaxed, funny, and enjoying himself. There was no talk of rules (with the exception of a ban on flash photography; he promised he would pose for pictures at the end of the show and kept his word), no chastising of the audience, and as a special added bonus, a lighthearted speech on the pleasures of cunnilingus.

Another difference with this show compared to last year's was the healthy dose of older material and the extra musicians on stage. Notably, Springsteen enlisted the aid of E Street Band members Danny Federici on accordion and Patti Scialfa on vocals, violinist Suzie Tyrell, former E Street drummer Vinni Lopez, Richard Blackwell (a percussionist that played on "The Wild, The Innocent, and The E-Street Shuffle"), "Big Danny" Gallagher, and surprise guest "Little Steven" Van Zandt. With the aid of additional musical muscle, stage foils to play off of, and Springsteen's natural command of his acoustic guitar, the Boss was powerful, engaging, and entertaining.

Opening with "For You," "(It's So Hard to be a) Saint In The City," and "Atlantic City," Springsteen set the mood for an evening of storytelling, jokes, and the occasional passionate diatribe. He interspersed the "Tom Joad" material evenly throughout the night, telling tales of growing up in Freehold and recounting the first time he saw John Ford's film version of "The Grapes of Wrath."

Springsteen's stage persona, which always vacillated between circus ringleader and concerned big brother, has now matured into the realm of seasoned country folk artist. His new songs, such as "Sinaloa Cowboys," dedicated to a mysterious Mexican friend who lost his brother in a motorcycle accident, were haunting and evocative, playing out like small movies set to music.

Reinterpreting his best known work, such as "Born in The USA" and "Darkness on the Edge of Town," the Boss urgently attacked his six string with a slide and an upward strum, while his vocals sometimes dropped to the lower register, invoking images of Johnny Cash. He apparently still gets enraptured in the joy of rock & roll, whooping and hollering, shaking his hips and playfully teasing the audience. When introducing "Red Headed Woman" by telling people to practice cunnilingus to do it right, one woman yelled, "Show me Bruce!" "No volunteers, please,'' the singer yelled back in his best southern preacher accent. "You're taking your life into your hands with that one, girl."