And the actress playing Rosalie? None other than Sandra Dee. It’s no coincidence that the character shift takes place during a party held during the 4th of July.
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The Wild, The Innocent was a movie that shared Springsteen’s theme of naive adolescents striving towards adulthood, moving from a small town to the city. “4th of July, Asbury Park (Sandy)” is a gorgeous ballad that follows, shedding a light on the influence for the album title. In many ways “Shuffle” is a precursor to “Tenth Avenue Freeze-out, Power Thirteen equal to Bad Scooter, both searching for their groove. Its truly a block party come to life with funky clavinets, swaggering horns and character names straight out of film noir. Imagine the black of a movie screen right before it bursts into color. It all begins with “The E Street Shuffle”. Even more, it’s a concept album, never again would the joy, the doubt, the passion and anger of one’s teenage years play out so well on a record. Never again would Springsteen show as much youthful swagger and intensity as he would here. What makes The Wild, The Innocent and The E Street Shuffle such an interesting case study is it’s a combination of the joys of youth and the recognition of its mortality. Undeterred by the pressure of his label, and perhaps even more motivated by his lack of success, Springsteen would enter into the studio again and in a matter of months come out with his most vivacious release in his career, The Wild, The Innocent and The E Street Shuffle. Springsteen seemed more like the nighthawks and the beatniks, choosing his prose to illustrate characters and crafting novellas, not narratives. “The New Bob Dylan” couldn’t have seemed like a worse label, Dylan had made his craft with confessional poetry and folk.
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The result was a split down the middle, and it was clear that Springsteen flourished more with a fleshed out sound, the two full acoustic numbers “Mary, Queen of Arkansas” and “The Angel” are probably among the most dispassionate releases in Springsteen’s catalogue and out of place among the Technicolor musical lyricism that brought numbers “Blinded By The Light” and “It’s Hard To Be A Saint in the City” to life. Part of the problem lay in the label’s handling of Bruce Springsteen’s talent, they wanted it to be a solo effort, while Springsteen wanted a full band effort. Music talent scout John Hammond had found the young man from Jersey 3 years prior, in the midst of Columbia Record’s desperate search for a “new Bob Dylan” and immediately set about releasing a debut record which would be entitled Greetings from Asbury Park, N.J. only to have it fall on deaf ears, despite its critical success. The guitar slinger from Jersey had finally found critical and popular success, yet Springsteen had already touched upon the themes so heralded in Born to Run, and it was The Wild, The Innocent and the E Street Shuffle that had brought him there. The tales that came out of this recording were legendary, it took two years to make the album, with a good 6 months spent on the title track, complete with 12 guitar overdubs and a change in production and management halfway through. The genius of Born to Run lay in its absolute desperation, it’s all or nothing grandeur that was indeed the result of an artist taking his last shot at stardom, doomed to fade to obscurity if he failed. Many thought that this Jersey boy had come out of nowhere (he had) and that this was a stunning debut (it wasn’t). Born to Run was a triumph of encapsulating the motifs of the American Dream, the hope of the future versus the world weary reality, the desire to make something out of nothing and never look back, audiences took to it immediately and a star was born. On August 25th, 1975, Bruce Springsteen’s musical career changed forever. I saw rock ‘n’ roll’s future-and its name is Bruce Springsteen
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