As a red-blooded American woman I have always loved Bruce Springsteen's music, but even older than my affection for Bruce is my affection for Pete Seeger. However, for years my husband has felt the need to leave the room whenver I've put Pete's music on, in an effort to escape Seeger's flawless and perfect earnestness. I think he just didn't think Pete was any FUN. Fortunately I think he will like Bruce's "let's have a party" spin on some of Pete's old favorites. If you never thought you'd get up and dance to Pete Seeger music, this album will change your mind.

On a more detailed level, the music ranges from really sublime to a bit disappointing. On the disappointing side I found "Shenandoah" almost incomprehnsible; Bruce is mumbling again, the pace is lugubrious, and the beautiful haunting melody is lost in the arrangement. Likewise "How Can I Keep from Singing" (a bonus track). On the other hand, Bruce's choice to use a host of Nawlins musicians on numerous tracks both energizes the music and makes it deeply meaningful on certain songs: "Jacob's Ladder" really swings, and "O Mary Don't You Weep" takes on a kind of redemptive quality. The song's lyrics (O Mary Don't you Weep....Pharoah's Army has drownded) seem to tell the listener that New Orleans will rise from the waters. The horn section really rocks throughout. "We Shall Overcome," in contrast, is quiet, contemplative, and moving - a contrast to the assertive fists-in-the-air version you may have in your head from countless peace marches.

By the way, this album comes on two discs - one is a DVD including the filming of several numbers. It didn't add much to my enjoyment of the music. However, if you are looking for the two bonus tracks, "How Can I Keep from Singing" and "Buffalo Gals," which do not appear on either the CD disc or on the liner notes, this is where you must look.

From the perspective of the career of Pete Seeger, "We Shall Overcome: The Seeger Sessions" is not what you might expect because if you think this is going to be a collection of covers of the greatest songs written by the American folk icon, then you are gong to be surprised and possibly disappointed. "Where Have All the Flowers Gone?," "If I Had a Hammer," and "Turn, Turn, Turn" are not going to be found here. The most recognizable song would be the title track, the song Seeger based on a spiritual that became the anthem of the Civil Rights movement. But this baker's dozen collection of tracks more about traditional songs that Seeger performed that Bruce Springsteen is passing along to a new generation. The second most recognizable song would probably be the last one, "Froggie Went a Courtin'" (which has been around at least since 1549), although "Erie Canal" would have to be second on that list. If you have any passing familiarity with American folk music then "Shenandoah," "John Henry," and "Old Dan Tucker" should be recognizable as well.

Then again, this album is not what you would expect from a Bruce Springsteen album, given that the Boss has never done a cover album before. He has done a few notable covers, from Tom Wait's "Jersey Girl" and Patti Smith's "Because the Night" to "War" and "Santa Claus Is Coming to Town," so it is interesting that Springsteen would suddenly decide to do it for an entire album. Seeger is certainly a legend, and if this album introduces a new generation of fans to his work so much the better. But having watched Springsteen fail (by his standard anyway) with his acoustic albums "Nebraska," "The Ghost of Tom Joad," and "Devils & Dust," it is interesting to see what happens when he takes his acoustic guitar and backs it up a full folk music ensemble recording LIVE, without rehearsals, in three one-day sessions cut in 1997, 2005 and 2006. The irony is that those other acoustic efforts sound more like Seeger's work than this album, because most Seeger recordings are just him playing his banjo. But if you flip the CD over for the DVD side of the disc you can see the recording of some of these tracks and that what you think was going on in the studio from listening to these tracks is just what you see. Plus there are a couple of bonus tracks on the other side, "Buffalo Gals" and "How Can I Keep from Singing."

The background on this 2006 album is that Springsteen was working on putting together a second album of "Tracks," collecting his rarities, when he came across a set of recordings he had made in 1997 for the Seeger tribute album, "Where Have All the Flowers Gone: The Songs of Pete Seeger." The only contribution from Springsteen ended up being "We Shall Overcome" on the album which had 39 tracks recorded by everyone from the Weavers and Peter, Paul & Mary to the Indigo Girls and Ani Difranco. This inspired Springsteen to record an entire album of folk tunes that Pete Seeger had popularized, and some of the musicians he brought together for this album had played on those sessions back in 1997. The liner notes by Dave Marsh provide a brief introduction on the background of each song. For example, "Old Dan Tucker," is: "An antique fiddle tune, often used for square dances, made famous around 1843 when Dan Emmett, one of the greatest early minstrel singers, wrote a version of these lyrics for his group, the Virginia Minstrels." You have to admire the mix of brevity and detail, which contrasts nicely with the rollickin' good time these musicians have in the studio. I find these songs addictive, and while they are not everybody's cup of tea, they have my toe tappin' through constant replay.

After listening to the album and seeing the show, my wife summed it up best. Only Bruce could take folk and have you dancing in the aisles. What a great album and show. If you get the chance, go to the show. You will leave feeling good. My hands still hurt from all the clapping we did. I hope he takes more folk songs and does another album. Bruce seems happy and that makes his music better.

Well from the liner notes Bruce didn't discover Pete until '97 or so. So I guess I am one up on Bruce there, I discovered Pete when I was but a wee lad hiding from my life in the bookshelves of of the local library of whichever town we happened to be living in that week. Well I can't remember where we were living for sure, but I do remember it was before I discovered SBR which was the summer of 1985. So I would say Pete was a couple of years before Funny that was the same time frame I discovered Bruce ) Well Pete's music and politics made a huge impact on me, the same as Bruce's has. I was listening to Pete and Punk music through quite a bit of my teen years, with Bruce and Rainmakers thrown in. I didn't realize until much later in life that the central theme in most of the music I was listening to was the survival of the human spirit. So I guess you can almost say that my life in music has almost come full circle and at least from my perspective, Bruce has done one hell of a job on this recording. He has brought the music a little forward with it just being his voice without losing the flavor of the music. hmmm does music have flavor? Oh well that is how I feel and if you like Bruce, Pete, or Folk music take a listen.

Wow, this CD is Outstanding. I was a little hesitant to buy it. I did not want to be KumByeAhed to death with folk music but I heard a review on "Fresh Air" and the cuts sounded great. I just listened to it for the first time and had to stay in the driveway to finish the whole CD. Bruce has provided amazing arrangements that don't just blow new life into these tunes; he makes them take on a new life. He has such respect and understanding of what makes music great. With his touch the songs are sharp at times melancholy & soulful and wonderfully energized. There is a great New Orleans flavor to many of the cuts too which I really enjoyed.