The Definitive Guide to Living in the Capital , Cairo , Egypt

As Bruce Springsteen’s eighteenth studio album, High Hopes was released in early 2014, and features the E Street Band and a contribution from Tom Morello, previously a member of Rage against the Machine (RATM). In addition to the E Street Band’s line up, some previously recorded material by deceased members Clarence Clemmons and Danny Federici, is also included in the mix.

Comprised of re-recorded outtakes and covers from the span of Springsteen’s career, the album came from his belief that the songs deserved revisiting and proper studio recording.

Springsteen’s layered, signature sound is clearer than ever; with meandering distorted guitars, strings and horns recorded and mastered at the highest quality. Even though he’s pushing 65, his voice still has the same strength, vigour and growl we’ve heard for so many years. As is usual in the case of Springsteen’s music, the arrangements transform average rock songs into sophisticated anthems.

The titular, opening track kicks off with solo percussion accompanying the singer’s warm, baritone voice. The delayed entrance of the rhythm section makes for a very dramatic and powerful effect, enhanced even further by the horn section.

Morello had performed a cover of ‘The Ghost of Tom Joad’ with Rage Against the Machine, and on High Hopes he returns for another rendition with its original writer. The track is by far the heaviest on the record, and features two guitar solos; one by Springsteen and the other by Morello who brings his quirky sound to the mix, whilst remaining conservative in comparison with his RATM and Audioslave work.

Of all the songs on the album, the most minimalistic recording is ‘The Wall’; a slow piece, performed primarily with a guitar and piano, that offers an aural contrast to the multi-layered sound of the rest of the album. This piece features a soulful melody, repeated several times on both an organ and flugelhorn.

While the idea of revisiting old material is a risky one, Morello’s futuristic guitar antics and Springsteen’s wailing confidence elevate ‘Heaven’s Wall’ and ‘Frankie Fell in Love’.

‘Harry’s Place’ is a grimy, desolate song that sounds like the soundtrack to a dark, smoky bar. It tells the story of the ‘big dog’ in a small town and his rule over the locals. Musically speaking, the track is infused with wah wah guitars and synth tones, along with a gripping sax solo from Clarence Clemon and fitting megaphone effects on Springsteen’s voice.

High Hopes hit number one in the US and UK  and many European countries, including Holland and Germany, as well as in Australia; the impressive collaborations and tight compositions may not stand up to Springsteen’s best, but at 65, he certainly hasn’t lost any of his enthusiasm for music.