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"standard": "Born in the U.S.A. delivered the superstar status that Springsteen fans had always expected. The title track was one of seven hits from U.S.A., which also included the ultra-modern synth-rock of \"Dancing in the Dark,\" the lustful \"I'm on Fire,\" and the quiet, end-of-the-road \"My Hometown.\" Springsteen's ability to make fist-waving, good-time music of troubled stories was at its highest peak here.",
"short": "Born in the U.S.A. delivered the superstar status that fans always expected."
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"standard": "It's hard to imagine Bruce Springsteen describing a project of his as a concept album—too much prog baggage, too much expectation of some big, grand, overarching story. But nothing he's done across five decades as one of rock's most accomplished storytellers has had the singular, specific focus and locus, lyrically and musically, as this long-gestating solo effort—a lush meditation on the landscape of the western United States and the people who are drawn there, or got stuck there.
\nNeither a bare-bones acoustic effort like Nebraska nor a fully tricked-out E Street Band affair, this set of 13 largely subdued character-driven songs (his first new ones since 2014's High Hopes, following five years immersed in memoir) is ornamented with strings and horns and slide guitar and banjo that sound both dusty and Dusty. They trade in the most familiar of American iconography—trains, hitchhikers, motels, sunsets, diners, Hollywood, and, of course, wild horses—but aren't necessarily antiquated; the clichés are jumping-off points, aiming for timelessness as much as nostalgia. The battered stuntman of “Drive Fast” could be licking, and cataloging, his wounds in 1959 or 2019. As convulsive and pivotal as the current moment may feel, restlessness and aimlessness and disenfranchisement are evergreen, and the songs are built to feel that way. In true Springsteen fashion, the personal is elevated to the mythical.",
"short": "On his first new songs in five years, same broken heroes, different highway."
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"releaseDate": "1975-08-25",
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"standard": "Springsteen's third album was the one that broke it all open for him, planting his tales of Jersey girls, cars, and nights spent sleeping on the beach firmly in the Top Five. He shot for an unholy hybrid of Orbison, Dylan and Spector — and actually reached it. \"Come take my hand,\" he invited in the opening lines. \"We're ridin' out tonight to case the Promised Land.\" Soon after this album, he'd discover the limits of such dreams, but here, it's a wide-open road: Even the tales of petty crime (\"Meeting Across the River\") and teen-gang violence (\"Jungleland\") are invested with all the wit and charm you can handle. Bruce's catalog is filled with one-of-a-kind albums from The Wild, The Innocent and the E Street Shuffle to The Ghost of Tom Joad. Forty years on, Born to Run still sits near the very top of that stack.",
"short": "Springsteen's third album was the one that broke it all open for him."
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"standard": "Released in 1980, The River arrived at the halfway point between Springsteen's initial burst of critical acclaim and his rise to stadium-filling superstardom. No surprise, then, that the sweeping double album finds Jersey's favorite son striking a near-perfect balance among his various personas: rambunctious rocker, clear-eyed folkie, and catchy pop singer. \"Hungry Heart,\" his first Top 10 hit, has an appealing '60s-style pop sound that was among the lightest fare the Boss had delivered to date (although the lyrics show more resignation than hope). Yet The River also includes some of Springsteen's most touching and vivid ballads: \"Independence Day,\" \"Stolen Car,\" \"Drive All Night,\" and \"Wreck on the Highway\" among them. Best of all is the title track, a quintessential Springsteen reflection that traces a relationship from its youthful carefree days to the grind of sobering familial responsibilities. Though peppered with irresistibly lighthearted ditties, the album shines brightest when the Boss sticks with his proven subject - real people with real problems."
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"standard": "Bruce Springsteen’s fourth album finds the rock ’n’ roll poet of the working class wrestling with themes involving troubled souls in troubled times. Songs are filled with dead-end factories, dark bars, and lost horizons—lyrical devices that reinforce Springsteen’s idea that salvation is found only through love. Surging opener “Badlands” and the dramatic “The Promised Land” offer hope as a vaccination against sadness and struggles, while the percolating title track—and poignant ballads “Racing in the Street” and “Factory”—subtly remind us that we were all just born to run.",
"short": "The Boss’ masterpiece grapples with common-man issues."
}
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"releaseDate": "1982-09-20",
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"standard": "There are no winners in Nebraska—a bleak sonic landscape where America’s dispossessed are ground into dust by social forces beyond their control. There’s the drifting murderer of the title track; a child whose family slaves away beneath a “Mansion On the Hill”; and a hard-luck guy forced to kill for the mob in “Atlantic City.” Springsteen’s darkest record is also his sparest: just voice and guitar lost in a sea of lonely reverb. There's an almost bone-chilling starkness to these songs, but they're deeply moving too.",
"short": "The Boss' eerie cult classic explores the dark side of the America Dream."
}
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{
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"releaseDate": "1987-10-09",
"name": "Tunnel of Love",
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"standard": "The followup to the mega-platinum Born in the U.S.A., Tunnel of Love is a brilliant, bittersweet meditation on love and life in the shadow of success. Springsteen had spent the previous years touring and basking in the adoration of fans worldwide, only to come home to face his own identity crisis. It begins a cappella with a rockabilly kick in \"Ain't Got You.\" From there, the music slowly opens up, minimally arranged, with bandmates brought in as needed. There is none of the furious rock 'n' roll punch of his most popular work. Instead, keyboards and acoustic guitars usher in somber tones as Springsteen reflects: \"Tougher Than the Rest,\" \"Cautious Man,\" \"Walk Like A Man.\" Each tune is imbued with a foreboding sense that all is not right. The dark clouds surrounding this album alongside Springsteen's unflinching and honest insights make this one of his most underrated and rewarding albums."
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"name": "Greetings from Asbury Park, N.J.",
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"standard": "When Bruce Springsteen released his debut album in 1973, Columbia Records thought it had finally found the \"new Dylan\" their marketing department was looking for, and in a sense, they had if you consider the magnitude of Springsteen's talent and performing abilities. What his debut lacks in precision is made up for in sheer nerve and enthusiasm. Bruce could swing wild — \"Blinded by the Light,\" \"Mary Queen of Arkansas\" — but when he connected with something as knowing and poignant as the adolescent-contrarian beauty of\"Growin' Up,\" the heart-stopping streetfight of \"Lost in the Flood,\" or the joyous summer party anthem \"Spirit in the Night,\" he was well on his way to creating a private world that was universal in its appeal. Though he was being promoted at the time as a bit of a folkie, his rock roots are everywhere. The E Street Band here is a motley lot. Drummer Vincent Lopez sounds fueled by methamphetamine, while pianist David Sancious lends a dignified sophistication. Their playing perfectly offsets the ragged, emotionally naked singing that makes Springsteen sound like a man caught up in rapture. An essential debut."
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"standard": "The Rising is Bruce Springsteen’s first studio album with the entire E Street Band since his blockbuster hit Born in the U.S.A.. Inspired by the tragedy of 9/11 and the resilience of the human spirit to find a way through the darkness, Springsteen wrote some of the most emotionally intense songs of a career filled with them. From the opening tale of forging one’s way on “Lonesome Day” to the dark elegy for his beloved Asbury Park (and, by extension, New York City) in “My City of Ruins,” The Rising is a powerful drama backed by the finest sounding recording of the E Street Band to date, courtesy of elite producer Brendan O’Brien (Pearl Jam, Rage Against the Machine). A Sufi choir uses their healing voices for “Worlds Apart” before the drums and guitar nail down the melody with glorious rock ‘n’ roll. Drummer Max Weinberg is tough and firm as he cracks the tension in “Further On (Up The Road),” while Bruce finds empathy as the voice for the devastated on “Into the Fire” and “You’re Missing.”"
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"standard": "His first album, the excellent Greetings from Asbury Park, N.J., presented a singer/songwriter with sharp lyrical skills and an emotional spectrum that could bring tears to the eyes of attentive listeners. His second album, The Wild, the Innocent, and the E Street Shuffle, added his stellar E Street Band. This is where Springsteen becomes an electric performer, with songs that invent new structures and court deep narratives. “The E Street Shuffle” and “Kitty’s Back” are among the funkiest songs he’s recorded, while “4th of July, Asbury Park (Sandy)” and “Wild Billy’s Circus Story” are the warmest and most heartbreaking on the album. “Incident on 57th Street” is pure cinemascope, an elaborate tale that sweats like a classic early-‘70s film. “Rosalita (Come out Tonight)” is archetypal Springsteen, complete with Clarence Clemons chasing the Boss with his ebullient sax while the lyrics tell of Bruce’s dreams of rock stardom. “New York City Serenade” is a beast, starting with David Sancious’ elegant piano intro and working its way to a dramatic conclusion. Essential."
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"standard": "Bruce Springsteen earned his reputation as one of the greatest rock ‘n’ rollers of all time with unparalleled live shows. Even before he was well-known, his epic performances were often three or four hours and featured classic ‘50s and ‘60s rockers alongside the most inventive original songs of the ‘70s. Live/1975-85 lets us glimpse the magic. A piano version of “Thunder Road” from ‘75 starts the set. From there, Bruce’s legendary 1978 appearance at the Roxy in Los Angeles proves The E Street Band’s greatness. Then arenas beckon, and Bruce plays the big stages. Despite this, he still commands an unusual intimacy. He recounts stories of his youth. He dares break out the acoustic guitar and harmonica for “This Land Is Your Land,” “Nebraska,” and “Johnny 99.” Edwin Starr’s “War” crashes through the night, and Tom Waits’ “Jersey Girl” sounds like it was written for the Boss himself. But the heart of the experience is what you expect: inspired versions of “Born to Run,” “The River,” and “The Promised Land.” There isn’t much better than Bruce in his prime."
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"standard": "Bruce Springsteen’s legacy didn’t need much burnishing, but his recent Raconteur Phase—starting with his 2016 memoir, Born to Run, and capped by his one-man show on Broadway, now entering its second year—offers a self-awareness that no star of his stature has ever even attempted. This companion piece to the Netflix special documenting his extremely sold-out run isn’t merely the collection of solo acoustic versions the tracklist may indicate; the songs themselves serve largely as illustrative examples punctuating long, eloquent recollections of his life and career over two and a half hours. (Intermission is whenever you hit pause.)
\nStalwarts like “The Promised Land,” “Thunder Road,” and “The Rising” are as stirring stripped down as you’d imagine, but the performances themselves often feel secondary to their narrative framing. “Tenth Avenue Freeze-Out” is an extended tribute to his friendship with late saxophonist and foil Clarence Clemons; the haunting, nearly a cappella “Born in the U.S.A.” that follows a story about meeting Born on the Fourth of July author Ron Kovic in the ’70s should end whatever remaining jingoistic misinterpretations of the song still remain. But the tracks connect beyond all belonging to one of contemporary music’s most vaunted discographies. How does a man who made his name and fortune desperately pleading to flee his death-trap/suicide-rap hometown reconcile living happily now in that same place? This poetic irony isn’t lost on him, and the journey makes for a good yarn.
\nThat Springsteen is a masterful storyteller with superhuman command of a small theater audience isn’t a surprise. That he recalls his life so crisply and entertainingly, weaving it in and out of the context of songs well-known and a bit less well-known—and that this energy carries over so palpably to an audio recording of a film of an intimate live performance—might be. It is dramatic, it is theatrical, it earns and transcends the venue. He pokes fun at his own image and culturally ingrained iconography—at age 21, he’d never driven a car despite being on the verge of writing “Racing in the Street”—and somehow makes his tales of yearning feel universal despite being very much about his singular career and experience. But that’s the skill that got him here to begin with.",
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"standard": "In the spirit of Nebraska, Bruce Springsteen strips down his sound (though not always to barebones acoustics) and tells tales of people disenfranchised by the widening gap between rich and poor. The characters are people on society’s margins, working in the shadows and struggling to get by. The title track is a masterstroke, a touching portrait of a modern-day John Steinbeck character; one can hear Bruce reach back to Woody Guthrie. For “Straight Time,” an ex-con with a new wife and kids ponders the pull of his previous life. “Youngstown” speaks from the soul of a despairing coal miner in the Ohio city. Two Mexican brothers in “Sinaloa Cowboys” end up cooking methamphetamine when fieldwork doesn’t pay the bills. Several songs here were inspired by newspaper stories, while others came from what Springsteen has witnessed around the country over the years. It’s a dark album. “My Best Was Never Good Enough” spits forth with a bitterness uncommon to Springsteen’s hopeful works. It’s a harrowing ride, but well worth taking."
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"standard": "Bruce Springsteen returned to fighting form on this hugely successful album of his 1999-2000 reunion tour with The E Street Band—their first tour together in 11 years. Armed with both Miami Steve Van Zandt and Nils Lofgren on guitars, The E Street Band were never more loaded with talent; this set also features the late organist Danny Federici and late saxophonist Clarence Clemons. This pre-9/11 collection has a free-flowing sense, from the decision to start with the relatively unknown “My Love Will Not Let Down” from the Tracks box set to the reworkings of “Born in the U.S.A.” as a blues song and Nebraska’s “Mansion on the Hill” as a full-band country-influenced song. “Prove It All Night,” “Two Hearts,” “Murder Incorporated,” “Badlands,” “Out in the Street,” and “Born to Run” cap the furious rockers of the first half. The second part features the reflective newer tracks “Land of Hope and Dreams” and “American Skin (41 Shots),\" alongside the piano-based vintage fan favorite “Lost in the Flood” and an epic “Jungleland” that explains why Springsteen remains among the greatest live performers of the rock era."
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"standard": "Recorded in his home studio after he’d cut Human Touch in the big studios, Lucky Town is lighter in delivery but no less committed in its tone. By releasing both albums at the same time, he blunted the initial impact of each. Taken separately, each has a clear identity and highlights to enjoy. “Better Days” is a trudging rocker with a fierce core of determinism. “Lucky Town” takes Springsteen’s personal unease and partners it with a bright, striving arrangement. “If I Should Fall Behind” is the kind of deeply romantic, touching ballad that Bruce can deliver without lapsing into banal sentimentalism. “Leap of Faith” is the sort of rousing number for which he’s best known. Without The E Street Band backing him (Bruce played all the instruments himself, except drums), the sound is slightly skewered, flat, and direct, whereas his old friends would find nooks to fill with their joy. “Souls of the Departed” is among the darkest songs Springsteen has cut, from its ominous guitar licks to lyrics that tell of the violence lurking outside gated communities, as youths put their lives on the line."
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"standard": "This is one impressive collection. Darkness On the Edge of Town was Bruce Springsteen’s fourth album, the follow-up to Born to Run, and, in many ways, it surpassed that classic with a stripped-down intensity that few, if any, in rock ‘n’ roll have been able to meet. This “Story” includes a re-mastered version of the album where every instrument finds its place in the mix. The classics: “Badlands,” “Adam Raised a Cain,” “Candy’s Room,” “The Promised Land,” “Prove It All Night” and “Darkness On the Edge of Town” never sounded more brilliant. However, it only starts there. There are 22 studio outtakes (one, “The Way,” is hidden as a bonus track after “City of Night”), including the completed version of “The Promise,” Springsteen’s most legendary unreleased track. There’s a video documentary of the making of the album that goes deep into the artistic process. There is the “Thrill Hill Vault” that includes band rehearsals at the farm in Holmdel, studio footage, and some brilliant live footage from Red Bank, NJ, 1976 and Phoenix in 1978. Finally, there’s the Houston concert from 1978 that shows exactly why Springsteen is considered to be one of the greatest live performers of all time."
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"standard": "High Hopes is the most unusual album in Bruce Springsteen's extensive catalog. It features three covers, two key Springsteen favorites brought up to date—“American Skin (41 Shots)” and “The Ghost of Tom Joad”—and a batch of great songs that are among the most sonically adventurous of the Boss' career, courtesy of producer Ron Aniello and Rage Against the Machine’s Tom Morello. Versions of Tim Scott McConnell’s “High Hopes” and Suicide’s “Dream Baby Dream” bookend the record, but it’s Springsteen’s snarling take of Chris Bailey and The Saints’ 1986 single “Just Like Fire Would” that sounds like a lost E Street Band song from their late-'70s prime. It's got the help of the NY Chamber Consort Strings and Morello, who adds heavier guitar touches throughout the album. “Heaven’s Wall” uses the same guests for a very different effect. “Down in the Hole” brings back the brooding synth magic of “I’m on Fire,\" while “The Wall” (a somber, personal tale of visiting the Vietnam War Memorial and remembering guys from the Asbury Park music scene who never returned home), feels like Bruce has struck the nerve that brings about his best work. "
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"standard": "This is the stuff of legend. Born to Run had been released to unanimous acclaim. Bruce and band went to the U.K., where they were hyped as the band to see—and with the stakes so high, they didn’t back down. These are definitive performances. “Thunder Road” has never sounded more naked and vulnerable. “Tenth Avenue Freeze-Out” is clutch, a tight, affirmative performance that swings and punches with authority. “Spirit in the Night” slinks and unfolds like the New Jersey shoreline. The mix from Bob Clearmountain points up the band's incomparable chemistry, unlocking the magic and spotlighting the instruments while never sacrificing the wall of sound. By 1975, Springsteen had a complex web of songs with the most inventive structures imaginable. From the ethereal organ haunting the ghosts of “Lost in the Flood” or the simple piano accompaniment driving “For You” to the wistful memories of “Backstreets” and the urban sprawl of “Jungleland,” Bruce and The E Street Band were never more operatic or intense."
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"standard": "While the title track about a soldier at war synched with the then-current issue of the 2003 U.S. invasion of Iraq, many of the songs on Devils & Dust, Bruce Springsteen’s third album of near-acoustic ruminations (in the tradition of Nebraska and The Ghost of Tom Joad), were ones that Springsteen had kicked around for more than a decade. “Long Time Comin’” and “The Hitter” made appearances in his live set for the Joad tour. “Reno” is a graphic and affecting song about a man trying to lose his sorrow in the arms of a prostitute, to no avail. “Jesus Was an Only Son” has a spiritual grace, enhanced by piano and strings. “Maria’s Bed” aches with some of Springsteen’s most clenched vocals and a rhythm section redolent of early Rod Stewart. “All I’m Thinkin’ About” shuffles with the feel of an old blues. “All the Way Home” is a full-band blowout, with a dark snarl in the guitars that’s pure catharsis. Often overlooked, Devils & Dust is one of Bruce’s finest albums."
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"standard": "All legends have to start somewhere, here's where Bruce’s began. This companion album to the autobiography Born to Run charts Bruce Springsteen’s musical history, from a teenager kicking out the jams with The Castiles in 1966 to beloved rock ’n’ roll icon belting out the title track of 2012’s Wrecking Ball. Chapter and Verse collects classic hits and five unreleased relics to mirror the book’s narrative of a hard-working Jersey boy living out his wildest dreams.",
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}
]
}