Album Review: Springsteen's 'Magic'

After listening to Bruce Springsteen's new album "Magic" for a full day, at least one conclusion can safely be drawn: At 57, "The Boss" is getting old. Thankfully, he can still rock.

Springsteen made his name with anthems about teenage rebellion in the 70’s, but his recent albums have been laced with political and societal commentary that reveal the wisdom that (sometimes) comes with age. "Magic" is no exception.

The album begins with somewhat of a non sequitur, "Radio Nowhere," the first single. A classic rocker, "Radio Nowhere" is radio friendly with grinding guitars and a strong drumbeat from late night TV star Max Weinberg, a long time band-member.

After the first track, though, the album takes a more melancholy turn. It may not be as dark as 2005's "Devils & Dust," but "Magic" is definitely sepia-toned.

"Livin' In The Future" has a classic Springsteen sound, but the gritty lyrics belie both the up-tempo beat and the optimistic, if not absurd, chorus.

"Your Own Worst Enemy" is emblematic of the overall tone of the album: gritty, grimy and gray.

The last three songs are where Springsteen really dials up the criticism, for both President Bush and his administration and the state of American values.

"Last To Die" repeatedly asks the question, "Who'll be the last to die for a mistake?" It isn't hard to decipher exactly what Springsteen is referring to as "the mistake."

"Long Walk Home" is of special interest to Springsteen fans, as it actually elegizes the small town where the narrator was born and the apparent bliss of living there as a boy. This is in complete contrast to some of his more famous songs, such as "Born to Run" and "Thunder Road," in which a younger Springsteen pines to get away from the small town lifestyle.

"Devil's Arcade" is the last song on the album, and offers the most overt criticism of the war, with lyrics like: "Somebody made a bet, somebody paid/ The cool desert morning, then nothing to save/ Just metal and plastic where your body caved."

The only real complaint with the album is that too often it relies on Nils Lofgren and Stevie Van Zandt's guitars to carry the song along, and they often overshadow fan-favorite Clarence Clemon's best saxophone riffs in decades.

"Magic" is a solid album, but it will leave a true fan wondering what has happened to The Boss's tireless optimism, his hope and belief that somehow, someway, we will persevere. "Magic" finds Springsteen despondent and dejected, lacking that freewheeling giddiness that made him so popular so many years ago.

"Magic" is definitely worth buying, if only because it may indeed be the last rabbit the wizard from Jersey pulls out of his hat, the last trick he performs at the end of his long and brilliant rock 'n' roll magic show.