Rage Against the Machine's Tom Morello captures the "submitting to authority" component of New Albany's zeitgeist.

I know, I know.

It's here, Shane. As for the interview at Rolling Stone ...

In a new interview for the Rock and Roll Hall of Fame, guitarist Tom Morello talked about the political nature of music. "100 percent of music is political. Music either supports the status quo or challenges the status quo. So every artist is political," Morello said.

"Now, Justin Bieber and Selena Gomez probably don't identify as political artists, but their music – while often very entertaining and loved by their fan base – is the bread and circuses of our times," Morello added. "If you're not questioning authority, you're tacitly submitting to authority. And that's not to say I have a long list of booty-shaking jams on my iPod, and there's certainly a place for that, but I am also conscious of the fact that in my own work, that what you say and what you do matters."

Which helps to prove that just because you're a politician, it doesn't mean you're the only one allowed to be political.

Roger's Year in Music 2014, No. 5: High Hopes, by Bruce Springsteen.

Let's get one thing out of the way: I won't try to make a case for High Hopes being in the upper echelon of Bruce Springsteen's canon.

The album is an instance of adaptive reuse in music, as The Boss combines various aggregations of the E Street Band -- including two deceased members -- to refashion various songs from the past decade. A few well-selected covers (including the Suicides, above) season the mix, and the result is perhaps surprisingly effective as a coherent collection of songs, which update Springsteen's sound and remain topical.

Two familiar Springsteen epics, "The Ghost of Tom Joad" and "American Skin (41 Shots)," do far more than provide familiar touchstones; they also deploy E Street fellow traveler guitarist Tom Morello to purely lethal effect, while largely summarizing the year that unfolded following the album's January release: The corrosive effects of income inequality and violence borne of racism.

Significantly for me, High Hopes plays like an album even if it is composed of spare parts. There is pacing, modulation and dramatic flow. The listener is engaged by the artist's songs as positioned together, and if this fatally dates me, I understand and will remain unreconstructed, eschewing "shuffle."

Kitty Empire's review at The Guardian hits the high points of High Hopes.

Last spring, Morello replaced bandana-toting E Street guitarist Steve Van Zandt on the Australian leg of Springsteen's Wrecking Ball world tour. He ended up resetting the co-ordinates on the album of loose ends that Springsteen had been planning. Morello suggested revisiting High Hopes, previously covered by Springsteen. He dug out another tune Springsteen knew by the Saints, an Australian punk band.

From there, it was a natural rollick to a local studio to record those, plus the rebooted, electrified Ghost of Tom Joad with all 18 members of the 2013 touring E Street Band, plus Morello, in full effect. All in all, Morello plays some role on eight of the 12 High Hopes cuts, which span covers, re-recordings, vault numbers and previously unheard tracks. That's Morello, making "squeep" noises on the title track, previously an EP obscurity, now a major soul-rock workout about hope in hard times.

The keynote address here is clearly Tom Joad, no longer a ghost of a song, but a fully fleshed beast on which Springsteen and Morello swap both guitar parts and sung verses ...