Bruce Springsteen's career has always seen him retreat after successes. His optimistic breakthrough, Born to Run, was followed by the cynical and downtrodden Darkness on the Edge of Town. The introspective, romantic Tunnel of Love succeeded Born in the USA.
So it's no surprise that Bruce chose to follow up 2002's comeback, The Rising (the first record to feature the complete E Street Band since 1984), with a solo effort ringing of country, bluegrass and acoustic work.
Though Devils and Dust probably will not be remembered as one of the more treasured Springsteen albums, it is still a mature and enjoyable work from an artist who has consistently changed his sound over the years.
Lyrically, Devils and Dust is a mixed bag. The titular first track is a reflection of Springsteen's take on the war in Iraq. Taken from the perspective of a soldier on a tour of duty, it displays the conflict of a man in war. Thankfully, the songwriting avoids being too preachy or political, and stays with the theme of the individual. Personal introspection fills the album, though it does not always work as well as on this track.
\Reno"" features the thoughts of a man while a prostitute services him. The song contains one of the typical Springsteen themes, as a man takes stock of how his dreams somehow went astray. Yet it is too explicit in its descriptions and suffers because of it. Subtlety has never been what Bruce Springsteen is about, but a frank reference to anal sex is going too far.
Thankfully, the songwriting never gets as racy after ""Reno,"" and songs such as ""Long Time Comin'"" and ""Leah"" display the usual Springsteen themes of trying to overcome past mistakes for the sake of a current love. Some tracks seem a bit too similar to ""Thunder Road"" in their ambitions, but are entertaining nonetheless.
Instrumentally, the album is more consistent. The songs are predominantly acoustic with organ or piano backing, fusing a bluesy/country style that Springsteen worked into ""The Rising"" so well. Producer Brendan O'Brian sits in on most songs playing bass, and background violin is successfully added by Soozie Tyrell.
Perhaps most welcome instrumentally is the organ playing of Danny Federici, one of two E Streeters enlisted to help out with the album. Federici's playing has always been a vital part of Springsteen's sound, and his work here is a firm reminder of that. Springsteen successfully captures the spirit of real country music, be it in ballads or lively songs that feel as if they would illuminate a dance hall.
The biggest fault of Devils and Dust is most of the songs are not particularly engaging when taken out of the context of the album. Alongside The Ghost of Tom Joad, this is Springsteen's only album where there are no songs that absolutely hook the audience on first listen. ""Leah"" and the title track are probably the strongest pieces on the record, though they are not up to par with songs like ""Lonesome Day"" or ""My City of Ruins"" from The Rising.
Still, Devils and Dust is never dull or repetitive, and it works well when listened to in its entirety. The instrumentation is one of the major reasons to listen, as it works quite well in bringing Springsteen's vision to life.
Though his 1982 effort Nebraska will be remembered as the superior acoustic album, Devils and Dust reminds us that Bruce Springsteen's work is still engaging, even when he is not at his best.
