Border Ballads: Bruce Springsteen as Corridista
Ghosts, Orchards, and Borders
Last November, in a post about Bruce Springsteenâs âHighway Patrolman,â I wrote of Nebraskaâs palliative effects. I listened to that album without moderation during a hard time in high school. Years later, I listened to another Springsteen album during another hard time. It wasnât vinyl, as Nebraska was, but a CD I played and replayed on continuous loop every night when I went to bed â Springsteenâs voice always in my head, flattening my grief into something almost smooth. This was just after my grandmother died. She was ninety-one. I was thirty. Weâd shared a good stretch of life, but grief is not bound by reason.
My comfort was The Ghost of Tom Joad, an album that confronts and explores the complications of borders. I was at my own border. My grandma â my co-conspirator â had crossed one. Border, as a concept, was deeply felt, albeit in an insular, solipsistic way, and the border songs on this album felt soporific and gentle â despite or because of the misfortunes they exposed. In âSinaloa Cowboys,â Miguel carries his brotherâs body down a swale to the creekside, where Louis died. The last word of that song is âgrave.â Miguel âkissed his brotherâs lips and placed him in his grave.â I understood that love. That they were cooking methamphetamine didnât matter. Miguel and Louis worked side by side in the orchards. My grandma and I worked side by side in my grandparentsâ orchard. I took what I needed in that song and let it wash over me â the spare, hypnotic voice I heard on âHighway Patrolmanâ soothing me again 15 years later.
The Ghost of Tom Joad was released in 1995 and won a Grammy for Best Contemporary Folk Album in 1997. My grandma died in February of 1999. Though Iâd had a few years to appreciate the album on its own terms, Ghost was my soundtrack for the winter weeks after her death, and it would take a few years for me to listen to the album again without loading my own grief into the music. Iâm well beyond 1999, but I still love The Ghost of Tom Joad, and am impressed with what Springsteen tackles in his border songs and how those songs (âSinaloa Cowboys,â âThe Line,â âBalboa Park,â and âAcross the Borderâ) feel like corridos.
The Corrido Tradition
Corridos are narrative songs â ballads very much intertwined with the tradition of murder ballads. The earliest recordings of them feature singers accompanied only by guitars. Springsteen adds only keyboard to three of his four border songs on The Ghost of Tom Joad. The fourth, âAcross the Border,â includes keyboard as well as backing vocals, bass, accordion, drums, violin, harmonica, and accordion. The addition of the violin, a traditional instrument in a mariachi ensemble, feels like a nod to Mexico, and the inclusion of the accordion feels like a musical acknowledgement of the NorteĂąo tradition.
Springsteenâs four border songs on this album feel like corridos because of their narrative quality and their musical simplicity, and because of their narrative subject. As Elijah Wald writes in his book Narcocorrido: A Journey into the Music of Drugs, Guns, and Guerrillas, Mexicans have been writing songs about their border experiences ever since the United States acquired most of northern Mexico in the 1848 treaty of Guadalupe Hidalgo. Wald mentions âEl Deportado,â a corrido recorded by Los Hermanos BaĂąuelos around 1929. That song, he says, is the lament of a deported laborer who came to the United States hoping to find work and escape the turmoil of the Mexican Revolution. More than half a century later, Springsteen wrote his border songs for The Ghost of Tom Joad. These issues remain real and relevant.
Wald describes âEl Deportadoâ as a mojado (âwetbackâ) song because itâs written from an essentially Mexican perspective. By this criteria, most of Springsteenâs border songs are corridos, but not mojados. âAcross the Borderâ is the only border song on the album written from what might be a Mexican perspective.