#side1

Lorsqu’un mineur ouvre un compte bancaire, il lui faut un représentant légal majeur. Boursorama propose un compte bancaire avec une carte VISA, un accès à une application mobile et au site internet Boursorama. A l’ouverture du compte, le plafond des retraits est égal à 200 euros sur 7 jours glissants. Le plafond des paiements est égal à 200 euros sur 30 jours glissants. Le représentant légal peut…

“Did you hear the cops finally busted Madame Marie for tellin' fortunes better than they do

For me this boardwalk life is through, babe

You ought to quit this scene too”

— Sandy (4th of July Asbury Park)

“And the circus boss leans over and whispers into the little boy's ear

Hey, son, you want to try the big top?

All aboard, Nebraska's our next stop”

— Wild Billy’s Circus Story

Side one of Wild builds a world. A boardwalk, midnight, alleyway place full of hip cats, alley rats, and boy prophets searching for streetwise salvation. “The E Street Shuffle” kicks the album off in roaring style depicting a seedy scene in sharp relief. Everyone is dancing and careening from the bars to the beaches. This scene is kinetic, but unchanging. “Men in snake skin suits packed with Detroit muscle” may show up, but they are soon subsumed into the party, until everyone is doing the E Street Shuffle, swept up in the rhythm and and seduced into grooving by a woman we only every know as “Little Angel.” This never ending beach party is the world we are given. It is the world that our narrator spends the rest of the album contemplating. This does not detract from the appeal of the vision or the verve with which Springsteen renders it, however, it does demonstrate that the days of Greetings, released only months before this album, are soon to be left behind. “E Street Shuffle” poses the questions that the album seeks to answer.

The yearning for escape is made explicit in the next three songs. “Sandy (4th of July Asbury Park) is about the melancholy of leaving behind a life that has been good for a long time. The  what can be brought along and what must remain in the past. “Kitty’s Back” about a faithless woman content to discard her man for a “city dude.” The song builds Kitty as a larger than life character (common in Springsteen’s early work), but also examines the dangers of returning to an old world. “Wild Billy’s Circus Story,” the most eccentric song in Springsteen’s recorded canon closes out side one of Wild and does so in rousing fashion. Oompah tuba and swirling accordion create a demented circus atmosphere over which Springsteen tells the story of a camp of performers looking for someone to join them. The end of the song is the question that Springsteen must have felt like the record company executives were asking him. The carnival boss could easily be an A and R man or critic telling Springsteen that his stardom was imminent.

“Hey sonny want to try the big top?”