Bruce Springsteen

WITH unparalleled success and fame will always come the weight of expectation. Global superstars ranging from the Rolling Stones, Paul McCartney, Michael Jackson and, to a lesser extent, U2 have all suffered because of the magnitude of their legacy, achieving glory that cannot be recaptured. In all fairness, how can it be? Artists rise, they peak and then they fall. Making music that is still relevant after 20, 30, or even 40 years is no easy task.

Bruce Springsteen falls into this superstar category, however like the musical chameleon David Bowie he apparently recognises this natural decline and not content to churn out meaningless pap, he instead chooses to change and adapt. Devils and Dust sees the Boss stand out on his own and, as with 1995's The Ghost of Tom Joad, he leaves the E Street Band at home to produce a stripped down acoustic album of exquisite song writing.

The title track opener shows that Springsteen is at his emotive best, and while the lyrical content of Reno should not be discussed in a family newspaper, it is a wonderfully bold piece. Equally adventurous is Maria's Bed, which has Bruce adapt a much higher vocal than usual.

With the exception of one or two up-tempo rockers, each song seems to tell a deep and vibrant tale that requires all the listeners' attention, so much so that after a weekend of listening you won't have even scratched the surface.