{"id":31153,"date":"2021-11-27T05:00:00","date_gmt":"2021-11-27T13:00:00","guid":{"rendered":"https:\/\/estreetshuffle.com\/?p=31153"},"modified":"2023-01-03T06:48:11","modified_gmt":"2023-01-03T14:48:11","slug":"two-faces-rockaway-the-days","status":"publish","type":"post","link":"https:\/\/estreetshuffle.com\/index.php\/2021\/11\/27\/two-faces-rockaway-the-days\/","title":{"rendered":"Two Faces: Rockaway the Days"},"content":{"rendered":"<p>[su_box title=&#8221;Editor&#8217;s Note&#8221;]<\/p>\n<p><span style=\"font-size: 12pt;\"><strong><em>Editor&#8217;s Note:<\/em><\/strong><\/span> <span style=\"font-size: 16px;\"><i>By popular demand, guest blogger Katy Crane returns today with a new <strong>Two Faces<\/strong> entry.\u00a0<\/i><\/span><\/p>\n<p><span style=\"font-size: 16px;\"><i>And I do mean popular: Katy&#8217;s <a href=\"https:\/\/estreetshuffle.com\/index.php\/2021\/11\/04\/two-faces-western-stars\/\">debut counterpoint<\/a> to my &#8220;<a href=\"https:\/\/estreetshuffle.com\/index.php\/2020\/03\/28\/roll-of-the-dice-western-stars\/\">Western Stars<\/a>&#8221; Roll of the Dice essay already ranks #3 among this site&#8217;s most-viewed posts of the year!<\/i><\/span><\/p>\n<p><span style=\"font-size: 16px;\"><i>Today, she takes us deep into a much more obscure song: Bruce&#8217;s 1984 outtake, &#8220;<a href=\"https:\/\/estreetshuffle.com\/index.php\/2021\/03\/15\/roll-of-the-dice-rockaway-the-days\/\">Rockaway the Days<\/a>.&#8221;\u00a0 And once again, Katy&#8217;s take is a very different one from mine<span style=\"font-size: 12pt;\">. Let&#8217;s hear what she has to say&#8230;<\/span><\/i><\/span><\/p>\n<p>[\/su_box]<\/p>\n<p>The 1984 outtake \u201cRockaway the Days\u201d opens with a poignant little guitar riff, cheerful and reassuring and wistful all at once. Then we hear Springsteen\u2019s voice, telling a grim story with the sing-song cadences of a lullaby:<\/p>\n<p style=\"padding-left: 40px;\"><em>Billy got out of prison but he wasn\u2019t right<br \/>\n<\/em><em>Some like to drink or gamble; Billy liked to fight<\/em><\/p>\n<div class=\"jetpack-video-wrapper\"><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"758\" height=\"427\" src=\"https:\/\/www.youtube.com\/embed\/eu5sSFAC5-U?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span><\/div>\n<p>At times, \u201cRockaway the Days\u201d can feel like two songs. The verses are flat and detached, more a list of events than a story arc, while the riff and the chorus wash us in empathy and melancholy. The two parts of the song never quite fuse together, and while that may explain why \u201cRockaway the Days\u201d is an outtake, it also gives it a fascinating strangeness and a central mystery. Who is telling this story, and where does the fault line between the chorus and the verses come from?<\/p>\n<p>Ken has already explored the links between this song and the earlier outtake \u201c<a href=\"https:\/\/estreetshuffle.com\/index.php\/2021\/01\/15\/roll-of-the-dice-losin-kind\/\">Losin\u2019 Kind<\/a>,\u201d and I can\u2019t improve on that analysis. But there are a few more connections I hear as well. (And as you\u2019ll notice if you\u2019ve read Ken\u2019s piece, he and I have very different takes on what exactly is happening in the chorus.) So if you\u2019ll join me, we\u2019ll take a second look at \u201cRockaway the Days,\u201d a complex, ambitious song that bridges the gap between the isolation of <em>Nebraska <\/em>and the desperate search for connection of <em>Born in the U.S.A<\/em>.<\/p>\n<p>\u201cRockaway the Days\u201d is one of Springsteen\u2019s rare third-person stories, and the opening drops us abruptly into the middle of a man\u2019s life. There\u2019s no introduction, no backstory, no insight into Billy\u2019s mind, just a concise summary of his problem. Billy has an addiction to fighting, and prison has done nothing to cure it.<\/p>\n<p style=\"padding-left: 40px;\"><em>He tracked back to his home state of Maryland<br \/>\n<\/em><em>Went to his ma\u2019s mobile home, where she took him in, all right<\/em><\/p>\n<p>Again, the narration is oddly flat, yet every detail is telling. The mother\u2019s poverty, the absent father, the words \u201chome state\u201d instead of \u201chome,\u201d the plodding solo journey &#8211; everything tells us we\u2019re watching someone without many chances in life. We learn that Billy\u2019s mother took him in, which tells us two things: that he had to ask, and that there was a chance she might say no.<\/p>\n<p>Springsteen ends the verse with a casual, soothing \u201cAll right,\u201d as if he\u2019s checking in with his listeners, making sure we\u2019re with him. That \u201call right\u201d leads us into the chorus, where the whole tone of the song changes:<\/p>\n<p style=\"padding-left: 40px;\"><em>Rockaway the days, rockaway the nights<br \/>\n<\/em><em>Gimme something to last me, baby, &#8217;til the morning light<br \/>\n<\/em><em>I ain&#8217;t lookin&#8217; for trouble, I ain&#8217;t looking for a fight<br \/>\n<\/em><em>Honey rockaway these days, rockaway these nights<\/em><\/p>\n<p>We\u2019re no longer in the past; whatever\u2019s happening in the chorus is happening right now. We\u2019re no longer listening to a detached third-person narrative; there\u2019s a real, vulnerable person here now, speaking to us directly, asking for comfort.<\/p>\n<p>And by \u201ccomfort,\u201d of course, I mean sex. This is a song like \u201cBecause the Night\u201d and \u201c<a href=\"https:\/\/estreetshuffle.com\/index.php\/2021\/01\/13\/roll-of-the-dice-cover-me\/\">Cover Me<\/a>\u201d and \u201c<a href=\"https:\/\/estreetshuffle.com\/index.php\/2019\/08\/09\/roll-of-the-dice-human-touch\/\">Human Touch<\/a>,\u201d in which a character overwhelmed by the misery of the world turns to sex as a refuge, a way to get through a long, depressing night.\u00a0Ken hears the singer of \u201cRockaway the Days\u201d as a maternal figure, and while I disagree, I think he\u2019s pinpointed something central about how this chorus feels. Springsteen&#8217;s voice is gentle, the cadence repetitive and soothing. This is a lullaby of a kind, but a dark one, a lullaby for adults.<\/p>\n<p>The singer takes up Billy\u2019s story again, running quickly through the big events of his life, his courtship and marriage. (In what may be Springsteen\u2019s laziest rhyme ever, he names Billy\u2019s wife \u201cMary Dove\u201d so that her name will rhyme with \u201clove.\u201d Oof.)<\/p>\n<p style=\"padding-left: 40px;\"><em>Billy swore to Mary he&#8217;d always love her so<br \/>\n<\/em><em>They were married in the valley where the river flows, all right<\/em><\/p>\n<p>Once again we get just the bare facts, a year or two of Billy\u2019s life summed up in a few quick lines. A brief glimpse of a rural community, of church picnics and riverside weddings, of Billy trying to fit into domestic life. Once again Springsteen ends the verse with that gentle \u201call right\u201d that suggests it\u2019s not all right at all.<\/p>\n<p>Another chorus, another appeal for human warmth and protection, and then we\u2019re in the longest stretch of Billy\u2019s story, three verses with nothing to break them up. Billy\u2019s compulsion to fight catches up with him, and \u201cfight\u201d turns out to be a mild word for what he does.<em>\u00a0<\/em><\/p>\n<p style=\"padding-left: 40px;\"><em>At a roadside bar Billy argued with a young man<br \/>\n<\/em><em>And he settled that argument with a razor in his hand<\/em><\/p>\n<p>Billy flees, but unlike his counterparts in \u201cHighway Patrolman\u201d and \u201cLosin\u2019 Kind\u201d and \u201c<a href=\"https:\/\/estreetshuffle.com\/index.php\/2018\/03\/23\/roll-of-the-dice-highway-29\/\">Highway 29,<\/a>\u201d he doesn\u2019t immediately hit the highway. He doesn\u2019t have a car, for one thing, and he\u2019s spent the last few years trying to fit into a community. He turns for refuge not to the open road but to people: his wife, his mother, a neighbor. But it\u2019s too late; all his chances have run out. This time, when he asks to be taken in, no one is going to say yes.<\/p>\n<p>Billy goes first to Mary, and her reaction tells us something of what life with him must have been like.<\/p>\n<p style=\"padding-left: 40px;\"><em>With blood on his shirt back to Mary he did run<br \/>\n<\/em><em>She sighed &#8220;Billy, oh Billy, what have you done?&#8221;<\/em><\/p>\n<p>She\u2019s grieved, but not surprised, and she knows immediately that Billy has hurt someone. Billy tries again at his mother\u2019s house, but doesn\u2019t even get in the door.<\/p>\n<p style=\"padding-left: 40px;\"><em>He ran to his ma&#8217;s trailer but the lights were dim<br \/>\n<\/em><em>He pounded on the door, she wouldn&#8217;t let him in<br \/>\n<\/em><em>Up the road to a neighbor&#8217;s house he drew near<br \/>\n<\/em><em>They said &#8220;Billy go away, we don&#8217;t want no trouble &#8217;round here&#8221;<\/em><\/p>\n<p>What has Billy done already, how many people has he hurt, that his family and friends see him approaching and assume correctly that he\u2019s done something terrible?<\/p>\n<p>We can see the ending of this story coming already, but the narrator refuses to rush it. He takes us through each detail: the stolen car, the drug-fueled flight, the panicked one-car accident. He shows us the aftermath of Billy\u2019s death: his body being recovered, his mother getting the news, and finally his burial, in the place where he was married a few verses ago.<\/p>\n<p>The chorus comes back, and now, with Billy\u2019s story complete and finished behind us, we can hear this for what it is: a song of mourning. Not for Billy, exactly, but for a world where grim little stories like this happen every day.<\/p>\n<p>Then something unexpected happens: the song keeps going. For the first time, that insistent guitar riff drops out, and in the hush of its absence, the narrator reflects on the world he lives in.<\/p>\n<p style=\"padding-left: 40px;\"><em>Rich man want the power and the seat on the top<br \/>\n<\/em><em>Poor man want the money that the rich man got<\/em><\/p>\n<p>Sound familiar? Six years before, in \u201c<a href=\"https:\/\/estreetshuffle.com\/index.php\/2019\/05\/20\/roll-of-the-dice-badlands\/\">Badlands<\/a>,\u201d Springsteen sang confidently,<\/p>\n<p style=\"padding-left: 40px;\"><em>Poor man wanna be rich, rich man wanna be king<br \/>\n<\/em><em>And a king ain&#8217;t satisfied till he rules everything<br \/>\n<\/em><em>I wanna go out tonight, I wanna find out what I got<\/em><\/p>\n<div class=\"jetpack-video-wrapper\"><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"758\" height=\"427\" src=\"https:\/\/www.youtube.com\/embed\/SDlSCeQXbPo?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span><\/div>\n<p>And there\u2019s no better encapsulation of the change from <a href=\"https:\/\/estreetshuffle.com\/index.php\/2022\/07\/05\/album-companion-darkness-on-the-edge-of-town\/\"><em>Darkness on the Edge of Town <\/em><\/a>to <em>Born in the U.S.A.<\/em> than these two mirror-image verses. In \u201cBadlands,\u201d the singer concluded his neat summary of the class struggle by swaggering out into the night to take his place in it, to find out what he had and try to get more. Six years later, his impulse is exactly the opposite: to draw inward, to retreat into the safety of closed doors and the comfort of another person.<\/p>\n<p>What other person? We\u2019re about to find out.<\/p>\n<p style=\"padding-left: 40px;\"><em>Honey, tonight I\u2019m feeling so tired and unsure<br \/>\n<\/em><em>Come on in, Mary, shut the light, close the door.<\/em><\/p>\n<p>If \u201cRockaway the Days\u201d were a movie, this would be the moment when the audience collectively gasps. This is a Big Reveal. The singer, lost in his thoughts, hears a knock and turns to answer the door. Who\u2019s that on the other side? Why, it\u2019s our old friend Mary!<\/p>\n<p>But who exactly is the singer? Is this a flashback to Billy, at an earlier point in his life, before everything went wrong? Or is it someone else, someone who\u2019s in Mary\u2019s life now?<\/p>\n<p>Either one is possible, but I\u2019m inclined to think it\u2019s the second. I think Springsteen set Billy\u2019s story in the past and the chorus in the present for a reason. I think the words \u201cI ain\u2019t looking for trouble\/ I ain\u2019t looking for a fight,\u201d are significant; these are both words explicitly associated with Billy. The narrator is reassuring Mary that he\u2019s not Billy, that she can trust him, that what happened to Billy won\u2019t happen to him.<\/p>\n<p>This also explains the flatness of the narration, the sense of being shut out of Billy\u2019s thoughts and emotions. The singer doesn\u2019t know Billy; he knows only the bare events of his life. And yet Billy\u2019s story has brushed up against his own, and he\u2019s affected by it, haunted by it.<\/p>\n<p>Compare this to \u201c<a href=\"https:\/\/estreetshuffle.com\/index.php\/2018\/01\/11\/roll-of-the-dice-working-on-the-highway\/\">Wreck on the Highway<\/a>,\u201d another story with a car crash, a dead young man, and a narrator who has crossed paths with someone else\u2019s tragedy. That song ends with the singer lying awake at night watching his girlfriend sleep, keeping vigil over the things he loves so they don\u2019t slip away. \u201cRockaway the Days\u201d is \u201cWreck on the Highway\u201d updated for the <em>Born in the U.S.A.<\/em> era, a time when that kind of human connection is harder to come by.<\/p>\n<div class=\"jetpack-video-wrapper\"><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"758\" height=\"427\" src=\"https:\/\/www.youtube.com\/embed\/D-MthLm7_m0?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span><\/div>\n<p>As a 1984 outtake, \u201cRockaway the Days\u201d bridges the gap between two albums. We\u2019ve just come through the dark isolation of <em>Nebraska<\/em>, and now the characters are starting to reach out, tentatively, for the connections that will tether them to the world again. \u201cRockaway the Days\u201d is a <em>Nebraska<\/em> story, as told by a character from <em>Born in the U.S.A<\/em>. The narrator is depressed and lonely, but he\u2019s asking for help. He\u2019s making contact, however briefly, with another person. And yet he\u2019s preoccupied by someone for whom that kind of contact didn\u2019t work, who had a family and a marriage but couldn\u2019t keep from spiraling out, away from the things that were trying to save him.<\/p>\n<p>Springsteen gives us a final chorus:<\/p>\n<p style=\"padding-left: 40px;\"><em>Rockaway the days, rockaway the nights<br \/>\n<\/em><em>Gimme something to last me, baby, &#8217;til the morning light<br \/>\n<\/em><em>I ain&#8217;t lookin&#8217; for trouble, I ain&#8217;t looking for a fight<br \/>\n<\/em><em>Honey rockaway these days, rockaway these nights<\/em><\/p>\n<p>And now that we know who these people are, whose tryst we\u2019re witnessing, we can finally see all the emotional layers to it. It\u2019s partly an instinctive response to tragedy: life asserting itself in the face of death. It\u2019s partly self-protection: the singer turning away from a world in which stories like Billy\u2019s happen and taking refuge in sex. But we\u2019re also watching someone trying his hardest not to be Billy, to stay connected, to get through one day at a time for as long as he can.<\/p>\n<p>\u201cWell, all right,\u201d the narrator sings again, but the soothing quality is gone from his voice. He sounds doubtful now, uncertain, like he\u2019s trying to convince himself of something. \u201cWell, all right.\u201d His voice rises, becomes a question, with a hysterical, yelping edge to it. \u201cWell, all right? <em>Well, all right<\/em>?&#8221;<\/p>\n<p>There\u2019s no answer. Just the guitar riff, insistent and wistful, returning one last time to end the song.<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Katy Crane returns with a deep dive into Bruce&#8217;s 1984 outtake.<\/p>\n","protected":false},"author":1,"featured_media":25971,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[3326],"tags":[3353,3129],"class_list":["post-31153","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-two-faces","tag-katy-crane","tag-rockaway-the-days"],"aioseo_notices":[],"aioseo_head":"\n\t\t<!-- 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