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Yahoo
26-06-2025
- Entertainment
- Yahoo
Bruce Springsteen 'Tracks II: The Lost Albums' is expansive and remarkable: Review
Bruce Springsteen has a broken heart. You can hear it in his expressive voice on the 'Twilight Hours' and 'The Streets of Philadelphia Sessions' LPs, part of the expansive and remarkable 'Tracks II: The Lost Albums,' available Friday, June 27. Now we don't think the Boss really has a broken heart, but the broad material on 'Tracks II' lets Springsteen delve into the sweet subject of heartache — and it's a joy. The Boss, like Al Jolson, can sing with a tear in his voice. 'Blind Spot' from 'The Streets of Philadelphia' finds the protagonist looking for redemption in love, and Springsteen's voice finds the space between yearning, lust and fatalism. The gorgeous 'Late in the Evening' from 'Twilight Hours' is a soaring ballad of late-night solitude for which Springsteen unloads a magnificent vocal performance with sustained notes, tremolos and the aforementioned Jolson teardrop. The Springsteen love songs have been, to this point, largely about lovers about to consummate their relationship. Think of the couples of 'Thunder Road' and 'Fire.' On 'Tracks II,' we get glimpses of what happens after the initial spark. There is a lot to unpack on 'Tracks II,' ostensibly a sequel to 1998's 'Tracks.' On 'Tracks II,' there are 83 songs on seven full albums recorded between 1983 to 2018, and it's quite a lot more than relationship songs. There's an atmospheric soundtrack to an unmade spiritual Western movie called 'Faithless,' recorded in 2005 and 2006; a sparse and evocative collection of border songs called 'Inyo,' named after the California county and inspired by 1995's 'The Ghost of Tom Joad'; 'LA Garage Session '83,' a collection of lo-fi rockers and atmospheric ballads recorded 'Nebraska' style in 1983 that is a treasure trove; and 'Somewhere North of Nashville,' recorded in 1995, filled with rocking Texas country songs. 'Perfect World' is a rocker sparked by Joe Grushecky co-compositions. The tracks date back to 1994. 'The Streets of Philadelphia Sessions,' a meditation on the meaning of trust in a relationship, was recorded in 1994, and is as close as we'll get to the album by Springsteen and his 'Other Band,' who played more than 100 shows with the Boss in 1992 and '93 when the E Street Band was disbanded. Zack Alford, Tommy Sims and Shane Fontayne all appear on 'Philadelphia Sessions,' which has wrongly been referred to as a 'hip-hop' album. 'Twilight Hours,' the strongest album in the collection, is a companion to 2019's 'Western Stars,' according to the 'Tracks II' liner notes, and was recorded in a 1960s orchestra pop style in 2010 and '11 as a nod to the repertoire of the Burt Bacharach and Hal David classics. 'Because I love Burt Bacharach and I love those kinds of songs and those kinds of songwriters,' says Springsteen in the liner notes. 'I took a swing at it because the chordal structures and everything are much more complicated, which was fun for me to pull off.' So why seven albums now? Each work has its Bruce-ian reason for not being previously released. 'The Street of Philadelphia Sessions' was too much of a 'relationship' album to come after the similarly-themed 'Tunnel of Love,' 'Human Touch' and 'Lucky Town.' 'LA Garage Sessions' was held back for another record: 'Born in the USA.' 'I've always released my records with great care, making sure my narratives built upon one another,' Springsteen says in the liner notes. 'I'm glad I did, as it usually assured the best of what I had came out, weaving a clear picture in my fans' minds of who I was and where I was going in my work life at that moment. The records in this collection did not comfortably fit into that narrative, my creative arc.' There is so much here, such variety and quality, that new narratives will be born on June 27. The Boss goes back to rock 'n' roll roots on 'LA Garage Sessions' with 'Little Girl Like You,' a Buddy Holly homage and, and 'Don't Back Down,' which echoes early Beach Boys. A pre-''Born in the USA' 'My Hometown' is here, sung in a higher key than the 1984 version. It's one of several songs on 'Tracks II' that have been released in different versions elsewhere. 'The Klansman' from 'LA Garage Sessions' is a compelling and driving rocker, unsettling in lyrical content and more than 40 years later more topical than ever. Marty Rifkin, a member of the Seeger Session Bands, lights up 'Somewhere North of Nashville' on his steel guitar, sizzling on 'Repo Man' with E Street (and Seeger Sessions) keyboardist Charles Giordano. Rifkin also gives a warm prairie echo to a cover of the Johnny Rivers classic 'Poor Side of Town.' First heard on 'Western Stars,' the song 'Somewhere North of Nashville' is given the Rifkin and Giordano treatment, and it sweetly aches. The stark 'Inyo' has several gems, including 'The Lost Charro,' which evokes Marty Robbins when trumpets ring in glory as fatal circumstances befall a noble hero. In 'Ciudad Juarez,' a daughter vanishes into the streets as told in this haunting ballad. 'Inyo' is set on the borders of California and Texas with one exception: 'Our Lady of Monroe.' The song takes place in Monroe, about 15 miles west of Springsteen's Freehold hometown, and it's a testament to Springsteen's eyes and ears as an artist that he gets it exactly right. Yes, it's very plausible that a retired Newark cop would come to live in one the senior communities in Monroe to try 'to lose some of what he'd seen' on duty. 'Another Thin Line,' co-written with 'Grushecky' from 'Perfect World,' is rocker that hits the mark with authority. "Cutting Knife' features a Springsteen rarity: a near-falsetto Boss on the chorus. The trusty E Street glockenspiel chimes in, this time played by co-producer Ron Aniello, and it's at once familiar and enticingly fatalistic. Like fellow Jerseyan Walt Whitman, the Boss contains multitudes. Prices for 'Tracks II: The Lost Albums' range from $14.98 for the companion CD, 'Lost And Found: Selections from The Lost Albums,' to $349.98 for the box set in vinyl format. Visit for more information. Follow That Dream Don't Back Down On Our Love Little Girl Like You Johnny Bye Bye Sugarland Seven Tears Fugitive's Dream Black Mountain Ballad Jim Deer County Fair My Hometown One Love Don't Back Down Richfield Whistle The Klansman Unsatisfied Heart Shut Out The Light Fugitive's Dream (Ballad) Blind Spot Maybe I Don't Know You Something In The Well Waiting On The End Of The World The Little Things We Fell Down One Beautiful Morning Between Heaven and Earth Secret Garden The Farewell Party Faithless The Desert (Instrumental) Where You Goin', Where You From All God's Children A Prayer By The River (Instrumental) God Sent You Goin' To California The Western Sea (Instrumental) My Master's Hand Let Me Ride My Master's Hand (Theme) Repo Man Tiger Rose Poor Side of Town Delivery Man Under A Big Sky Detail Man Silver Mountain Janey Don't You Lose Heart You're Gonna Miss Me When I'm Gone Stand On It Blue Highway Somewhere North of Nashville Inyo Indian Town Adelita The Aztec Dance The Lost Charro Our Lady of Monroe El Jardinero (Upon the Death of Ramona) One False Move Ciudad Juarez When I Build My Beautiful House Sunday Love Late in the Evening Two of Us Lonely Town September Kisses Twilight Hours I'll Stand By You High Sierra Sunliner Another You Dinner at Eight Follow The Sun I'm Not Sleeping Idiot's Delight Another Thin Line The Great Depression Blind Man Rain In The River If I Could Only Be Your Lover Cutting Knife You Lifted Me Up Perfect World Subscribe to for the latest on the New Jersey music scene. Chris Jordan, a Jersey Shore native, covers entertainment and features for the USA Today Network New Jersey. Contact him at cjordan@ This article originally appeared on Asbury Park Press: Bruce Springsteen 'Tracks II: The Lost Albums' review
New York Times
02-05-2025
- Entertainment
- New York Times
Stephen Mo Hanan, Who Played Three Roles in ‘Cats,' Dies at 78
Stephen Mo Hanan, a vibrant performer who sang arias and other music as a busker in San Francisco before playing Kevin Kline's lieutenant in the acclaimed 1981 Broadway production of 'The Pirates of Penzance' and three felines in the original Broadway cast of 'Cats,' died on April 3 at his home in Manhattan. He was 78. Gary Widlund, his husband and only immediate survivor, said the cause was a heart attack. At his audition for 'Cats,' Mr. Hanan (pronounced HAN-un) told Andrew Lloyd Webber, the composer, and Trevor Nunn, the director, that he had spent several years singing and accompanying himself on a concertina at a ferry terminal at the foot of Market Street in San Francisco. 'As a matter of fact, I've brought my concertina,' he recalled telling Mr. Nunn in an interview with The Washington Post in 1982. 'He said, 'Give me something in Italian.' Well, I've never had a problem with shyness. I sang 'Funiculi, Funicula.'' Mr. Hanan was ultimately cast in three parts: Bustopher Jones, a portly cat, and the dual role of Asparagus, an aging theater cat, who, while reminiscing, transforms (with help from an inflatable costume) into a former role, Growltiger, a tough pirate, and performs a parody of Puccini's 'Turandot.' During rehearsals, Mr. Hanan kept a detailed journal, which he published in 2002 as 'A Cat's Diary.' In an entry about the second day of rehearsal, he described an assignment from Mr. Nunn: to 'pick a cartoon cat we know of, withdraw to ourselves and prepare a vignette of that cat, then return to the circle and each in turn will present.' He continued: 'I choose Fritz the Cat,' the Robert Crumb character, 'making a pass at some kitty. Watching the others is a gas — people's individualities are beginning to emerge.' He and another cast member, Harry Groener, were both nominated for the Tony Award for best featured actor in a musical. They both lost; the tap dancer Charles (Honi) Coles won for 'My One and Only.' In the years following 'Cats,' Mr. Hanan's many roles included Moonface Martin in 'Anything Goes,' at the Guthrie Theater in Minneapolis; the double role of Voltaire and Dr. Pangloss in 'Candide,' at the Huntington Theater in Boston; and another dual role, Mr. Darling and Captain Hook, in 'Peter Pan,' on Broadway and on tour. He also portrayed the villainous innkeeper Thenardier in 'Les Miserables' in London. In 1999, Mr. Hanan created a stage role of his own: Al Jolson, the popular vaudevillian who performed in blackface, sang on Broadway and starred in 'The Jazz Singer,' the pioneering sound motion picture. 'Jolson & Co.,' which Mr. Hanan wrote with Jay Berkow, was staged Off Broadway, at the York Theater Company. Al Jolson 'was pure id,' Mr. Hanan, who bore a physical resemblance to him, told Harvard magazine in 2002, when the show was revived at the Century Center for the Performing Arts in Manhattan. 'He didn't censor himself, neither his joy nor his rage. With Jolson you can be completely over the top; you have to be. His personality demands that kind of size.' 'Jolson & Co.' recreates a 1946 radio interview with Barry Gray as a way of looking back on his remarkable life. Mr. Hanan sang many of the songs Mr. Jolson was known for, including 'Swanee' and 'California, Here I Come.' Reviewing the show in New York magazine, John Simon praised Mr. Hanan's performance as 'mostly impersonation but, as such, unbeatable.' He added, 'On top of the Jolson looks, the incarnator has absorbed all the vocal, facial, and kinetic mannerisms as if he had stolen the man's very soul.' Mr. Hanan was born Stephen Hanan Kaplan on Jan. 7, 1947, in Washington. His mother, Lottie (Klein) Kaplan, was a high school English teacher; his father, Jonah Kaplan, was a pharmacist. While attending Harvard College, Stephen performed in theatrical productions at the Loeb Drama Center and with the Hasty Pudding Club. He acquired the nickname Mo on a trip to Bermuda during college, after a friend, the future Broadway librettist John Weidman, observed that his outfit made him look like 'some guy named Mo who cleans cabanas in the Catskills,' Mr. Hanan told the website TheaterMania in 2002. After graduating in 1968 with a bachelor's degree in English literature, he studied for a year at the London Academy of Music and Dramatic Art on a Fulbright fellowship. Back in New York, he had difficulty landing roles, so in 1971 he moved to San Francisco, where he lived on a commune and spent six years singing for money, mostly at the ferry terminal, which earned him enough to spend winters in Mexico and Guatemala. Once, outside the stage door at the War Memorial Opera House in San Francisco, he encountered Luciano Pavarotti, who had just performed in Verdi's 'Un Ballo in Maschera,' and summoned the nerve to sing for the great tenor. 'I raced to the money note and he, exclaiming 'Che voce d'oro' — or 'What a golden voice' — beckoned me over amid applause,' Mr. Hanan wrote in an unpublished essay. After returning to New York again, he landed small parts in New York Shakespeare Festival productions of 'All's Well That Ends Well' and 'The Taming of the Shrew' in Central Park in 1978. (Around that time, he dropped his surname and began using his middle name instead, because there was another actor with a similar name.) In 1980, the director Wilford Leach cast him as Samuel, the second in command to Mr. Kline's Pirate King, in the Shakespeare in the Park production of the Gilbert and Sullivan comic operetta 'The Pirates of Penzance,' which also starred Linda Ronstadt. Mr. Hanan stayed with the show when it moved to Broadway in 1981. Rex Smith, who played Frederic, the male romantic lead, said in an interview that Mr. Hanan 'embodied all that was required to be the Pirate King's lieutenant, and for that you had to stand and deliver every night — if you're not going to be keelhauled.' In 2006, Mr. Hanan moved up in rank to play the Major-General in a Yiddish-language version of 'Pirates' (called 'Di Yam Gazlonim!'), put on by the National Yiddish Theater Folksbiene at the Jewish Community Center in Manhattan (now the Marlene Meyerson JCC Manhattan). Allen Lewis Rickman, the director, of that show recalled that Mr. Hanan did not know Yiddish and had to learn his lines phonetically. 'He was quite a character and very entertaining, one of those people who you know is a real pro,' Mr. Rickman said in an interview. 'He had a clownish streak — that was his first instinct — but not in a scene-stealing way.'
