The Boss exorcizes his demons

Smack in the middle of his two biggest commercial triumphs, 1975's Born to Run and 1984's Born in the U.S.A., Bruce Springsteen released his single finest (and yet somehow most obscure) record. Armed with nothing more than his voice, harmonica and acoustic guitar, Springsteen painted 1982's Nebraska as a bleak, haunting portrait of Reagan's America that clawed its way deep into the brain of anyone who dared give it a listen. 13 years later, the criminally underrated Ghost of Tom Joad proved itself the sequel to Nebraska in terms of tone and topicality. Both albums showcased Bruce virtually solo, telling gripping, first-person stories of individuals left behind by their own society, grasping at any semblance of optimism, affection or self-worth.\nSpringsteen's 13th studio and third solo album, Devils & Dust, quickly proves itself more heavily produced than either Nebraska or Joad (courtesy of Brendan O'Brien, who gave The E Street Band's last collaborative effort a splash of grandeur), but rather than overshadowing the intimacy of the lyrics or sincerity of the performance, the added tonal flourishes only amplify what Springsteen is aiming at here, which is a politely cautionary yet hopeful album designed specifically for these heady times.\nOften heralded as a spokesman for the common working man, especially on earlier classic tracks like "Stolen Car" and "One Step Up," Springsteen shifts gears on Devils & Dust to paint himself as a voice for the chronically disillusioned. The title track is a lament by pawns on both sides of the current war as they mistakenly assume their own personal deity is on their side while at the same time simply doing their best to survive the whole ordeal. \nThe touching "Matamoros Banks" is an elegy for every Mexican who perishes in their attempt to find a better life for themselves and their family by crossing the Rio Grande. "The Hitter" tells the tale of a man who makes his living through violence despite being, in his own mind, a desperate and weary pacifist, while "Leah" emanates from the mouth of someone who desires nothing more than a grounded life and comfortable love in the face of stars that seem to be aligned against him.\nDelving into graphic sexual territory for the first time ever on a Springsteen record, "Reno" is less about the instant, guiltless gratification of a tryst with a prostitute than it is about a piteous search for fleeting companionship. "Long Time Comin'," "Maria's Bed" and "All I'm Thinkin' About" are more upbeat than fans of Springsteen's solo work are used to, but all three exude an air of country flair that are unmistakably infectious. Even the dobro and pedal steel are all-inclusive, and only The Boss could make a washboard seem universal.\nIf Devils & Dust has a single weak moment, it's "Jesus Was an Only Son," which is a competent, if formulaic tune in its own right but feels forced when placed up against the 11 superb tracks that surround it. The track ought to have been left off in favor of one of several possible B-sides that packed more of a punch.\nSpringsteen, solo or with E Street, has not recorded an album as confident, consistent or intimate as Devils & Dust since 1987's Tunnel of Love. It's a remarkable return to form for a man who has recently been preoccupied with partisan politics (however noble) and the resurrection of a more rational pre-9/11 national mindset. As Springsteen says on "All the Way Home," "I know what it's like to have failed, baby, with the whole world lookin' on." Regardless of his recent political failure, he's conjured up the finest record of 2005 so far.