The River and the Ties that Bind
Dec 11, 2015

31 March 2021

I wish I could recite the details of the first time I heard the thunderous snare crack of “The Ties That Bind”, the song that introduces Springsteen’s 1980 album, “The River”. I wish I could still recall my primal reaction to the joyful crowd noise that enticed me into the car with “Sherry Darling”. I know them now like I know everything and nothing else. I know the anguished sighs of “Drive All Night” and the undaunted pursuit of “Two Hearts”, but that first River experience is a blur of cellophane, black vinyl and the spinning red label of Columbia Records.

By 1979, I was 16, I hated my Dad, I was struggling to be a mediocre student and I was two years into my fascination with Jersey’s Boss. I had raised my fist in defiance with Born to Run. I had listened in a dimly lit bedroom as Darkness on the Edge of Town blasted out a black and white movie full of vengeance, passion and misdirected rage. Those records were new and challenging and otherworldly, but they belonged to friends – they weren’t really mine. I was still reaching, searching for something of my own.

I finally found it in the fall of 1980, on the pages of the Rolling Stone magazine. The article about Springsteen and his new double-album spoke to the person I was and the man I wanted to be. I vividly remember finishing the story and running to my mom with some weak excuse about going to the mall. I drove that ‘75 Plymouth Fury like a Stolen Car to the local record store. Half an hour later, I was sitting on the floor of my bedroom with the album on my lap like some ancient, holy tome. The excitement of ownership and discovery attached to that day and to “The River” remains unsurpassed.

The songs reached into the best and worst parts of me. They ripped out my story in pieces; the ponderous love of “Point Blank”, the fractious father-son struggle of “Independence Day”, the raucous beer-fuelled parties of “Ramrod”. It was a time-capsuled, fortune-teller’s crib sheet of my life.

Like many friends from those days, The River faded into the misty world of epic teenage adventures and youthful crushes. Once in a while characters like Dirty Annie would wave to me from the Jackson Cage in a scratchy home-movie flicker but my return was fleeting and lonely. The River, the album that spoke to me when I was surrounded by a crowded future, was mine and mine alone.

In August of 1999 I was reunited with this album by my nine-year-old son. He travelled with me to the Continental Airlines Arena. We camped at Cheesequake State park. We tailgated with the rest of New Jersey in the Meadowlands parking lot and we saw something that changed us both.

“Play Cadillac Ranch Bruce! Play Cadillac Ranch!”

His voice was strong and passionate and belied his age. I fully expected him to crash halfway through the three-hour performance. Instead, he was on his feet or on my shoulders for the entire show; pointing at Little Steven, waving to Clarence and singing along with Two Hearts. Daniel Hunter - whose birth date of April 9, 1990 came 17 years after the release of Greetings from Asbury Park and one year after the break-up of the E Street Band - had given me back the River. Sadly, like the album itself, this story ends on a somber note.

Boys become teens and they grapple with fathers and rules and just plain growin’ up. Fathers used to be teens and they struggle to find the balance between friendship and guidance; support and sympathy. Through all the arguments, the rules, the pain and the tears, we both owned the River.

It was the slim thread that tied and bound us together. It connected me to him when nothing else would. I'm sure the songs spoke to Daniel like an older brother; without the weight and substance of a father’s words. I smiled when I would hear him listening to “The Price You Pay” or “Wreck on the Highway” but when I tried to talk to him about it, the words came back to me in grunts and syllables. One night when the stars were aligned and the winter moon broke down the barriers, he let me into his River.

“You used to love Cadillac Ranch,” I said in passing.

“Yeah….still do. But there’s something about those quiet songs.”

“Something sad,” I asked?

“Yeah. Something…..more”

I nodded. I had worn those 17 year-old shoes. I had strained to find the person I was beneath my insecurity and monumental teenage anxiety and I recognized that struggle in my son. I understood at that precise moment, how a great record can be truly timeless.

A year after that conversation, I split up with his mom. It hadn’t worked for a long time and we both needed to find our paths. Dan blamed me. Still does. I write to him almost every day but I haven’t seen him in a year and half. When we spoke it was awkward and stilted.

I miss him every day.

I maintain a kind of minimal ownership in the River but I’ve given most of my share to Daniel. It’s his now but I cling to it sometimes. Not the sad songs – they carry too much of him and too many of my failures. But when Two Hearts rolls around on my iPOD, I sing along with him; belting out the words and drowning out the pain of his absence.

Today as tickets for the 35th anniversary tour of The River go on sale, this song is on an endless loop in my head.

“You sit and wonder just who's gonna stop the rain
Who'll ease the sadness, who's gonna quiet the pain
It's a long dark highway and a thin white line
Connecting baby, your heart to mine
We're runnin' now but darlin' we will stand in time
To face the ties that bind
The ties that bind
Now you can't break the ties that bind
You can't forsake the ties that bind”

- Bruce Springsteen, “The Ties That Bind” from The River



Take me to The River
Feb 4, 2016

31 March 2021

“Tonight we’re gonna take you to the River……”

The words flowed out over the crowd like the concept itself; smooth and welcome and warm. And if the words were the river, the congregation was once again baptized in rock and roll. For me it was a return to the record that confirmed my faith. Born to Run opened my eyes. Darkness on the Edge of Town asked the hard questions. But The River? The River sealed the deal. It was raucous and raunchy and dark and soulful. It reached into my life and told the stories I didn’t know existed yet. Fathers and sons, husbands and wives, cars, shoes, sex and yes, rock and roll at its most primal.

On Tuesday night at the Air Canada Centre in Toronto, arm in arm with the beautiful girl I married and 17,000 other Canadian tramps, we lived it all again and we lived it with narration by the man himself.

One of the things that always drew me to Bruce Springsteen’s live shows was the conversation. The most vivid memory I have of my first show was Bruce, sitting on the edge of the stage at the CNE Grandstand. It was a beautiful Ontario summer night in July of 1984. I was 21 and he was 35. At one point with the band playing quietly behind him, he sat down. His legs dangled over the edge of a stadium-sized framework of scaffolds and plywood. His audience was 25,000 screaming fans but when he started to talk, he was tailgating in the high school parking lot. He was telling us about his family’s first new used car and how it felt when his dad drove it into the driveway. He wasn’t a musical superstar or a songwriting icon. He was your buddy reminiscing about the swirling emotional landscape of a small town. Over the years, those conversations disappeared. I’m not sure why. Maybe he decided we’d heard it all before. Maybe he thought the music said it all. Or maybe he didn’t think about it at all. Whatever the reason, I missed those moments of intimacy. Tuesday night was a return to that Bruce – the guy who opened the curtain on his life. He kicked it off with a rocket-fueled out take from 1980 called “Meet Me in the City” and as the roar of the crowd became a rumble, he told us that the River was the record where he was trying to figure out where he fit in within the broader community. Is it any wonder we connected so completely with these songs and this man? He ripped through “The Ties the Bind”, “Sherry Darling”, “Jackson Cage”, “Two Hearts” and I was transported back to my family home. That bedroom with the white Pearl drum set in the corner, Bose speakers on both sides of the room and posters on every wall. I could actually hear the echoes of my dad yelling at me to turn it down when Bruce gave the band the tempo for “Independence Day”. With Charlie Giordano on the organ, Roy on grand piano and Max’s high hat cinching down the beat – Bruce took the mic and walked out to the front of the stage. He didn’t sit down but it didn’t matter. 30 years and almost 100 shows in, his voice is so familiar to me; it’s like listening to your best friend tell a story. It’s compelling and dramatic and familiar and it lands somewhere south of the heart and north of the soul. “Independence Day was the first song I wrote about fathers and sons. It’s the kinda song that you write when you’re young and you’re first startled by your parents’ humanity. You’re shocked to realize that they had their own dreams and their own desires because all you could see is the adult compromises they’ve had to make. When you’re young you haven’t had to do that yet. I remember the idea that frightened me; the idea of how they seemed locked into a certain world and all you could feel was the desire to escape that world as a teenager and a young man.”

The tears were inescapable. He does that. He finds a way beneath the façade of your public life and pulls out the emotions we don’t show the world. I could see my dad at the kitchen table, my son at his computer and me wandering the years between them.

And that was just side one. Side two kicks off with the singalong “Hungry Heart.” It’s always been a “crowd participation” song but over the last few tours, he’s taken that to a new level by adding crowd surfing to the experience. More singing with “Out in the Street”, some localized contributions to “Crush on You” by the crowd down front and a hilarious “You Can Look” with lots of mugging and hand gestures from Little Steven. I wasn’t sure what to expect with “I Wanna Marry You” but I certainly hadn’t anticipated another conversational prelude. “I wrote this song as a daydream….a sweet little daydream. The kind where you’re standing on the corner in the summer, watching some girl that you’ll never meet walk by and you imagine a whole life with her in 30 seconds. Of course you imagine the easiest life – without consequences. That’s why it’s a song of youthful imagining and of love in all its foolish glory and early tentativeness and all of its perfectness.” It was a stunning re-imagining of this song and a perfect transition to the title track and the cornerstone of the record.

I have to say that throughout the whole show I was impressed with the normally sedate Toronto crowd. From the first note to the final wave, they were all in with the vocals, with additional lighting courtesy of cell phones and appropriate respect during the slow songs.

“The River” itself was brilliant. The interplay between Jake on sax and Bruce on the harp floated memories of Scooter and The Big Man but that’s not to take anything away from Jake – it’s just part of Clarence’s infinite shadow. Jake’s energy and commitment to every song was fresh and invigorating. He has definitely earned his own spot in the legend that is the E Street Band.

Time for side three. If side one is the call to join the party and side two is friends, mayhem and laughter, side three is when things turn serious. “Point Blank” was stunning and Roy’s piano – the sound that is maybe most identifiable with the Springsteen canon – was absolutely heart-wrenching. “Cadillac Ranch” piled everybody into the backseat and onto the lip of the stage. “I’m a Rocker” turned up the stereo. “Fade Away” was the harmony-laden soul that got everyone’s attention and the ghost-filled “Stolen Car” stopped us cold.

Finally we reached side four and again – we’re dancing and mugging with the roadhouse rocker “Ramrod”. It’s the last bit of untethered exuberance before the trio of “Price You Pay”, “Drive All Night” and “Wreck on the Highway”.

I’ve always said that perhaps the biggest strength of the E Street Band is their incredible sense of dynamics. Each member knows when to step forward and when to drop it down to a whisper. These three songs brought that home with passion and drama. “Price You Pay” is a mid-tempo rant led by The Professor’s piano riff, pounding out the fury of the main character as he swears to, “…tear it down and throw it away.” From that hammering backbeat the band falls away and we’re left with the piano and Max’s quiet rimshot pleading with us to “Drive All Night.” This – according to almost everyone I spoke to - was the diamond in a night full of gems. In ten minutes of musical perfection it builds from desolate harmonized misery to a plaintive full-band wail. It was amazing to watch the crowd - at first seated - rise with the crescendo of the band to one of the loudest ovations of the night. The final song, “Wreck on the Highway” was the beautiful ending; a denouement to one of the best musical stories I’ve witnessed and before the last note, Bruce summed it up this way, “The River was about time. Time comes us all and The River was about the ticking of that time and how we each have a finite amount to do our job, to raise our family, to do something good.”

That would have been enough for mere mortals but with emotions raw and bare we were treated to 12 more songs that ran the length and breadth of Springsteen’s career. “Promised Land”, “Brilliant Disguise” and the Isley Brothers “Shout” were among the standouts. Then again, it all stands out.

Later as I was chatting with friends I was asked several times how the show ranked for me and to be honest I couldn’t do it. I couldn’t place the show in a list because for me – it was too personal. The River was my record. I owned it for so many years and later, when I took my son to his first Bruce show, it became his. When I first met Ginette I gave it to her and this year, she gave it back to me. How do you rank something that is, for all intents and purposes, an heirloom? It stands alone and separate. It runs through us as a stark and glorious reminder that music has a power to transform and to heal and to renew.

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