{"id":444,"date":"2026-05-19T07:53:02","date_gmt":"2026-05-19T07:53:02","guid":{"rendered":"https:\/\/flatplanplus.io\/mojov2\/?p=444"},"modified":"2026-05-19T10:23:08","modified_gmt":"2026-05-19T10:23:08","slug":"the-boss-50","status":"publish","type":"post","link":"https:\/\/flatplanplus.io\/mojov2\/2026\/05\/19\/the-boss-50\/","title":{"rendered":"The Boss 50"},"content":{"rendered":"\n<h1 class=\"wp-block-heading\">Bruce Springsteen\u2019s 50 Greatest Songs Ranked<\/h1>\n\n\n\n<h2 class=\"wp-block-heading\">MOJO salutes Bruce Springsteen with a rundown of his greatest ever tracks<\/h2>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"1024\" src=\"https:\/\/flatplan-plus-content.s3.eu-west-1.amazonaws.com\/wp-content\/uploads\/sites\/25\/2026\/05\/Bruce-Springsteen_Aaron-Rapperport-Corbis-Getty-1024x1024.jpg\" alt=\"\" class=\"wp-image-446\" srcset=\"https:\/\/flatplan-plus-content.s3.eu-west-1.amazonaws.com\/wp-content\/uploads\/sites\/25\/2026\/05\/Bruce-Springsteen_Aaron-Rapperport-Corbis-Getty-1024x1024.jpg 1024w, https:\/\/flatplan-plus-content.s3.eu-west-1.amazonaws.com\/wp-content\/uploads\/sites\/25\/2026\/05\/Bruce-Springsteen_Aaron-Rapperport-Corbis-Getty-300x300.jpg 300w, https:\/\/flatplan-plus-content.s3.eu-west-1.amazonaws.com\/wp-content\/uploads\/sites\/25\/2026\/05\/Bruce-Springsteen_Aaron-Rapperport-Corbis-Getty-150x150.jpg 150w, https:\/\/flatplan-plus-content.s3.eu-west-1.amazonaws.com\/wp-content\/uploads\/sites\/25\/2026\/05\/Bruce-Springsteen_Aaron-Rapperport-Corbis-Getty-768x768.jpg 768w, https:\/\/flatplan-plus-content.s3.eu-west-1.amazonaws.com\/wp-content\/uploads\/sites\/25\/2026\/05\/Bruce-Springsteen_Aaron-Rapperport-Corbis-Getty-1536x1536.jpg 1536w, https:\/\/flatplan-plus-content.s3.eu-west-1.amazonaws.com\/wp-content\/uploads\/sites\/25\/2026\/05\/Bruce-Springsteen_Aaron-Rapperport-Corbis-Getty-2048x2048.jpg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<p>Once you\u2019ve been called Rock\u2019n\u2019roll Future \u2013 where do you go? The answer, for&nbsp;<a href=\"https:\/\/www.mojo4music.com\/articles\/the-mojo-list\/bruce-springsteens-best-albums-ranks\/\">Bruce Springsteen<\/a>, over six decades of singing, shouting, rocking and writing, turned out to be just about anywhere,&nbsp;<em>everywhere<\/em>. Walking like Elvis, talking like&nbsp;<a href=\"https:\/\/www.mojo4music.com\/articles\/the-mojo-list\/bob-dylan-greatest-songs\/\">Dylan<\/a>, rocking like a full-force gale, he revived rock\u2019s golden youth and fused it with a talent for creating worlds that sucked you in: characters that fought, loved, drove, feared and loathed in an America whose sense of self and stark reality collided and combusted. Around, beneath and behind him, most of the time, the E Street Band have stoked his fire, a big group with a juggernaut sound that could play all night,&nbsp;<em>will<\/em>&nbsp;play all night given half a chance.<\/p>\n\n\n\n<p>And yet Springsteen\u2019s is mostly a personal journey \u2013 albeit one that tracks that of his nation, in his lifetime and back through history. Born in Long Branch, New Jersey, on September 23, 1949, of Dutch, Irish and Italian stock, his dreams of escape fuelled music of romantic aspiration, yet his sense of place remained so strong (his current address in Colts Neck is less than 8 miles from his childhood home) that, barring the disorientating effects of mega-fame in the mid-\u201980s, he has remained steadfastly grounded.<\/p>\n\n\n\n<p>There were aspirations, too, to write better, and differently, aspirations fulfilled on startling small-scale albums \u2013&nbsp;<em><a href=\"https:\/\/open.spotify.com\/album\/6yskFQZNlLYhkchAxELHi6?si=CYO10DafQcOEI1xbDfOFKQ\">Nebraska<\/a><\/em>,&nbsp;<em><a href=\"https:\/\/open.spotify.com\/album\/5TmwoxCapHJLw5cdnQupAl?si=ID5cEiSaTOaUTu2GdDJS0g\">The Ghost Of Tom Joad<\/a><\/em>&nbsp;\u2013 and in a memoir, Born To Run, that cut to the core of what makes him tick. These days, he pens songs and plays shows that burn as intensely as ever, from Broadway to Glastonbury, while he hobnobs with politicians and intellectuals seeking his take on the issues of the day. His country\u2019s conscience? An unlikely outcome for that skinny kid in a singlet with a Fender Esquire slung across his back. Maybe there\u2019s something to that American Dream, after all.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<figure class=\"wp-block-embed is-type-rich is-provider-embed-handler wp-block-embed-embed-handler wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Pink Cadillac (Single B-Side - 1984)\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/Wk5cIUI6Zac?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>50.<\/strong> <strong>Pink&nbsp;Cadillac<\/strong> (B-side to Dancing In The Dark, 1984)<\/h2>\n\n\n\n<p><em>Fundamentally it\u2019s Chuck Berry playing Peter Gunn.<\/em><\/p>\n\n\n\n<p>The distilled run-off of rockabilly, garnished with a twist of Mancini sax and served with a gunshot snare every second and fourth beat, this stark, unyielding track didn\u2019t make it onto&nbsp;<em>Born In The USA<\/em>, yet it\u2019s tooled to rev up any jukebox. \u201cMy love is bigger than a Honda, it\u2019s bigger than a Subaru,\u201d declares Bruce in a steely, greasy delivery, dripping with slapback echo. \u201cHoney I just wonder what it feels like in the back of your&nbsp;pink&nbsp;Cadillac.\u201d Don\u2019t they all?<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Bruce Springsteen - The Wrestler\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/uRUEKJIcvbo?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>49.<\/strong> <strong>The Wrestler<\/strong> (from&nbsp;<em>Working On A Dream<\/em>, 2009)<\/h2>\n\n\n\n<p><em>Gut-wrenching bonus track on ugly duckling album.<\/em><\/p>\n\n\n\n<p><em>Working On A Dream<\/em>&nbsp;was a surprisingly slight, poppy affair, affected by whimsy (Outlaw Pete) and dipped in Beatle-y strings. But this piercing song, written for the Oscar-nominated Mickey Rourke film about a washed-up grappler, and its sparse sounds stood apart. Its lyrical play on singularities \u2014 \u201cone-trick pony,\u201d \u201cone-legged dog,\u201d \u201cone-armed man\u201d \u2014 hints at our fundamental aloneness, while the refrain of \u201cYou\u2019ve seen me\u201d confesses a need for connection. Four decades into his career, The Wrestler reveals Springsteen still working on his craft, honing his mission.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>48.<\/strong> <strong>Shenandoah<\/strong> (from&nbsp;<em>The Seeger Sessions<\/em>, 2006)<\/h2>\n\n\n\n<p><em>Blissful surrender to the American folk tradition.<\/em><\/p>\n\n\n\n<p>Few songs are more heart-achingly beautiful \u2013 or more embedded in the American psyche \u2013 than the early 19th Century story of a fur trader\u2019s doomed love for the daughter of an Indian chief along the banks of the Missouri. Stripped of its later baggage as a shanty, work song and bar-room singalong, this abandons all guile to the raw, unashamed sentiment at the song\u2019s core. A choked vocal, sublime Patti Scialfa harmonies and Soozie Tyrell\u2019s ghostly violin underpin a restrained Chieftains-esque arrangement. Pete Seeger loved it.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>47.<\/strong> <strong>Murder Incorporated<\/strong> (from&nbsp;<em>Live In New York City<\/em>, 2001)<\/h2>\n\n\n\n<p><em>Blood meets thunder in a bruising bout between message and medium.<\/em><\/p>\n\n\n\n<p>This remixed&nbsp;<em>Born In The USA<\/em>&nbsp;outtake first released in 1995 can be so&nbsp;ferocious live \u2014 on the full-roar Live In New York City video&nbsp;counterpart to the audio-only album, Nils Lofgren, Steve Van Zandt and&nbsp;Springsteen gurningly shred their asses off \u2014 that the noise often&nbsp;drowns out the message. Yet unplugged its scathing denunciation of the&nbsp;American \u201cbody count\u201d deemed \u201cthe price of doing business\u201d lacks heft,&nbsp;as does even the studio original. A gut punch needs heavyweight&nbsp;delivery.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Bruce Springsteen - Waitin&#039; On A Sunny Day (Official Video)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/TiCxqhu9cio?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>46.<\/strong> <strong>Waitin\u2019 On A Sunny Day<\/strong> (from&nbsp;<em>The Rising<\/em>, 2002)<\/h2>\n\n\n\n<p><em>The happiest one of all\u2026<\/em><\/p>\n\n\n\n<p>A live mainstay until 2016, this was a burst of untrammelled singalong joy, but regarded with suspicion by the cognoscenti, who winced at its cheesy lyrics (\u201cgonna chase the clouds away\u201d) and relentless smiley optimism. Even Springsteen admitted it was the sort of stomper manager Jon Landau invariably rejects, but the artist was right to prevail. Written before 9\/11, the recorded version was a counterweight to the more downbeat musings of&nbsp;<em>The Rising<\/em>&nbsp;and another welcome showcase for Soozie Tyrell\u2019s violin.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>45.<\/strong> <strong>If I Should Fall Behind<\/strong> (from&nbsp;<em>Lucky Town<\/em>, 1992)<\/h2>\n\n\n\n<p><em>A wedding ring in song form.<\/em><\/p>\n\n\n\n<p>A pledge of \u2013 and an appeal for \u2013 undying devotion come what may, this was recorded at Springsteen\u2019s Thrill Hill West home-studio shortly after his marriage to second wife Scialfa. No thundering back-beat and no heroics, just a simple side-stick-on-snare country tune acknowledging even true love\u2019s challenges (\u201cOh, but you and I know \/ what this world can do\u201d). Gary Mallaber\u2019s on drums, but Bruce handles guitar, keys, bass, harmonica and percussion. A human touch for her indoors, and onstage.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Bruce Springsteen - If I Should Fall Behind (Official HD Video)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/RmUG1ffgKFw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>44.<\/strong> <strong>Land Of Hope And Dreams<\/strong> (from YouTube of Joe Biden\u2019s inauguration)<\/h2>\n\n\n\n<p><em>All aboard the train to glory, via the White House.<\/em><\/p>\n\n\n\n<p>This anthem of hard-bitten optimism has usually featured as a barnstorming concert climax. But opening the Biden broadcast in January 2021, Springsteen offered a moving solo acoustic version. The choice was significant \u2013 after Barack Obama\u2019s farewell address in 2017 he left the stage to this song. Springsteen takes the train image from the gospel tradition \u2013 specifically This Train, first recorded in the \u201920s. But whereas its carriages are reserved for the godly, Springsteen &nbsp;has seats for all: \u201csaints and sinners\u201d, \u201cwhores and gamblers\u201d, \u201closers and winners\u201d.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>43.<\/strong> <strong>New York City Serenade<\/strong> (from&nbsp;<em>MSG 11.07.09<\/em>, 2020)<\/h2>\n\n\n\n<p><em>A lusty Jersey boy conjures the city of his dreams.<\/em><\/p>\n\n\n\n<p>When Springsteen stitched New York Song and Vibes Man together in the summer of 1973, he was a 23-year-old roughneck from central Jersey, 50 miles south of Manhattan, and, from David Sancious\u2019s grand piano prelude on, the result was pure projection. Four decades after its debut on&nbsp;<em>The Wild, The Innocent &amp; The E Street Shuffle<\/em>, at Madison Square Garden, he and his band had grown into the adult experiences of this \u201cmad dog\u2019s promenade\u201d. From the archive of shows available at&nbsp;live.brucespringsteen.net, no performance better encapsulates Springsteen\u2019s endless intimacy and cinematic spectacle.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>42.<\/strong> <strong>Highway Patrolman<\/strong> (from&nbsp;<em>Nebraska<\/em>, 1982)<\/h2>\n\n\n\n<p><em>Good cop, bad brother.<\/em><\/p>\n\n\n\n<p>This Cain and Abel fable feels like a police report filled out at 3am on a muggy August night. But as flat and stoic as it is on the surface, the undercurrent of conflicted ache in the narrator\u2019s voice can put pimples on your goosebumps. Campfire fingerpicking, distant harmonica, a melody that barely moves \u2013 that these ingredients add up to something so devastating is pure songcraft genius. Potent enough to inspire both a Sean Penn movie and a Johnny Cash cover.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Bruce Springsteen - Highway Patrolman (Official Video)\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/7EVCO7ZKVDs?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>41.<\/strong> <strong>Western Stars<\/strong> (from&nbsp;<em>Western Stars<\/em>, 2019)<\/h2>\n\n\n\n<p><em>The boss rides off into the sunset? Not so fast&#8230;<\/em><\/p>\n\n\n\n<p>A grand gesture towards the songs of Jimmy Webb, and particularly Glen Campbell\u2019s masterful interpretations of the late \u201860s,&nbsp;<em>Western Stars<\/em>, the album, involved a series of character studies: the patched-up thrill-seeker of Drive Fast (The Stuntman), the freewheeling youth thumbing his way around the US in Hitch Hikin\u2019, the regret-filled jobbing songwriter of Somewhere North Of Nashville. But none was more vivid and haunting than the timeworn movie cowboy of the title track.<\/p>\n\n\n\n<p>Over muted acoustic guitar and Marc Muller\u2019s keening lap steel, our protagonist wakes with relief to find that he\u2019s still alive and not under the \u201cwhispering grasses\u201d at LA\u2019s cemetery for the stars, Forest Lawn Memorial Park. And yet life\u2019s struggle continues. He arrives on set, feeling old and battered, eschewing a breakfast cocktail of gin and raw eggs. Instead, he necks a Viagra to get his blood pumping.<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>\u201cSpringsteen throws himself so deeply into the role he\u2019s almost unrecognisable.\u201d<\/p>\n<\/blockquote>\n\n\n\n<p>Springsteen throws himself so deeply into the role that with his dusty vocal, he\u2019s almost unrecognisable, and truly believable as the worn-out actor who at the weekends travels out to the desert to tame wild horses with Mexican charros who \u201ccross the wire and bring the old ways with them\u201d. Back in the city he has few claims to fame \u2013 being shot by John Wayne in a late career film (maybe 1976\u2019s Don Siegel-directed The Shootist?); being vaguely recognised by a girl in a bar as someone in \u201cthat commercial with a credit card\u201d that he doesn\u2019t confirm was actually him.<\/p>\n\n\n\n<p>Western Stars is not just a depiction of a dying age of Hollywood, but also of what remains wild about Los Angeles, with its coyotes in the hills making off with pet chihuahuas and the Santa Ana desert winds \u2013 or \u201cdevil winds\u201d said to unsettle Angelenos \u2013 blowing through the traffic on Sunset Boulevard. There are also fleeting expressions of deep, human feelings for others: the charros are \u201cour American brothers\u201d, the bar girl is \u201csome lost sheep from Oklahoma\u201d.<\/p>\n\n\n\n<p>Equally sympathetic is the musical arrangement \u2013 drummer Matt Chamberlain\u2019s echoes of The Wrecking Crew\u2019s Hal Blaine, Rob Lebret\u2019s Wichita Lineman baritone guitar. In the soaring middle eight repeating the main melodic theme, the screen feels like it stretches out, with the Stone Hills Strings playing as if they\u2019re accompanying the epic conclusion to a John Ford film.<\/p>\n\n\n\n<p>As a defiant celebration of a Hollywood that is dying or, more likely, already gone, our narrator\u2019s big chorus statement \u2013 \u201ctonight the Western stars are shining bright again\u201d \u2013 is stirring yet filled with pathos. It\u2019s all the more moving for the narrator\u2019s sense of sad acceptance (see Springsteen\u2019s beautifully gutsy-to-tender delivery of the couplet, \u201cHell, these days there ain\u2019t no&nbsp;<em>more<\/em>&nbsp;\/ Now there\u2019s just&nbsp;<em>again<\/em>\u201d). But for all its resignation, Western Stars is a stunner, brought to you in VistaVision.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Bruce Springsteen - Western Stars (Official Video)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/_IXzAAKrsFE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>40.<\/strong> <strong>Radio Nowhere<\/strong> (From&nbsp;<em>Magic<\/em>, 2007)<\/h2>\n\n\n\n<p><em>Communication breakdown drives me insane.<\/em><\/p>\n\n\n\n<p>Some tagged Radio Nowhere\u2019s broiling affirmation of rockin\u2019 virtues as a less goofy counterpart to 57 Channels (And Nothin\u2019 On), an ageing dude disgruntled by modern ways. Yet the void intimated by its rotary riff progression and Springsteen\u2019s repeated entreaty \u201cIs there anybody alive out there?\u201d is spiritual, a howl against the onrushing technological apocalypse. Connection is found only amid one of the E Street Band\u2019s fiercest performances. Released as a single, Radio Nowhere tanked \u2013 a very ironic kind of vindication.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Bruce Springsteen - Radio Nowhere (Official Video)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/MtrOYsNCPmg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>39.<\/strong> <strong>Adam Raised A Cain<\/strong> (from&nbsp;<em>Darkness On the Edge of Town<\/em>, 1978)<\/h2>\n\n\n\n<p><em>Let\u2019s just say Bruce has dad issues.<\/em><\/p>\n\n\n\n<p>Springsteen\u2019s 4th album starts out pretty angry with Badlands, but the song that followed, with its searing guitar and aggressive vocal, has a Biblical fury and pain all its own. A hard rock song (complete with squealing guitar) about hard truths. \u201cYou inherit your sins, you inherit the flames,\u201d he sings in the song inspired in part by John Steinbeck\u2019s East Of Eden \u2013 and even more by feelings about the man with \u201cthe same hot blood\u201d burning in his veins.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Adam Raised a Cain\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/PRRd78fqmIg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>38.<\/strong> <strong>Downbound Train<\/strong> (From Born In The USA, 1984)<\/h2>\n\n\n\n<p><em>A&nbsp;Nebraska&nbsp;refugee finds its home on&nbsp;Born In The USA\u2019s dark side.<\/em><\/p>\n\n\n\n<p>One of Springsteen\u2019s most perfectly realised dramatic visions, Downbound Train flips the pop song\u2019s traditional deployment of the train as an escape. Narrator Joe has already lost his job when his girl leaves \u201con the Central Line\u201d, condemning him to haunting by whistle whines as his life descends into an existential shunt between dead ends. We leave him in a railroad gang hammering down cross ties, inevitably \u201cin the rain\u201d, comforted only by the E Street Band\u2019s empathetic trudge into the lonely eternal.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Bruce Springsteen - Downbound Train\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/Nc_mv46NwT4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>37.<\/strong> <strong>Letter To You<\/strong> (from&nbsp;<em>Letter To You<\/em>, 2020)<\/h2>\n\n\n\n<p><em>A thrilling celebration of living life in the moment.<\/em><\/p>\n\n\n\n<p>The placing of this song in its album\u2019s tracklisting is crucial. After the muted, sombre opener, One Minute You\u2019re Here, with its musing on mortality and the approach of the metaphorical \u201cbig black train\u201d, it bursts in dramatically, a full-band surge of vital energy decorated by Charles Giordano\u2019s Al Kooper-ish organ swirls. Letters have been a perennial subject for tunesmiths, but here Springsteen wants to cram everything \u2013 \u201cAll the sunshine and rain\/ All my happiness and all my pain\u201d \u2013 into this missive in song.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Bruce Springsteen - Letter To You (Official Video)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/AQyLEz0qy-g?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>36.<\/strong> <strong>Devils &amp; Dust<\/strong> (from&nbsp;<em>Devils &amp; Dust<\/em>, 2005)<\/h2>\n\n\n\n<p><em>Dylan\u2019s With God On Our Side, now with less hope!<\/em><\/p>\n\n\n\n<p>Written from the perspective of a US soldier in Iraq, this is the Springsteen hero at his most doubt-filled. Bruce\u2019s Gibson J-45 strum and harmonica summon the desolate acoustic landscapes of&nbsp;<em>Nebraska<\/em>, while French horns and Nashville strings offers an illusion of uplift. None comes. Only a question: \u201cWhat if what you do to survive, kills the things you love?\u201d and the realisation that Springsteen\u2019s soldier is also a metaphor for his country, post-9\/11, God-on-our-side assumptions replaced by a foul accumulation of \u201cdevils and dust\u201d.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Bruce Springsteen - Devils &amp; Dust -The Song\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/cG8ZQkeZvzc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>35.<\/strong> <strong>4th&nbsp;Of July, Asbury Park (Sandy)<\/strong> (from&nbsp;<em>The Wild, The Innocent &amp; The E Street Shuffle<\/em>, 1973)<\/h2>\n\n\n\n<p><em>The ultimate boardwalk elegy. Watch out for greasers!<\/em><\/p>\n\n\n\n<p>If Springsteen\u2019s second album was his Jersey shoreline take on *Astral Weeks, 4th&nbsp;Of July was his Cyprus Avenue; a mythopoetic torrent of imagery that specified and idealised his home turf \u2013 the factory girls! The tilt-a-whirls! \u2013 even as he sought to transcend it. Danny Federici\u2019s accordion leans hard into the carny romance. But there\u2019s a subtext, too, of an artist keen to escape his backyard while memorialising it in perpetuity: \u201cFor me,\u201d as Bruce tells Sandy, \u201cthis boardwalk life is through, babe.\u201d<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"4th of July, Asbury Park (Sandy)\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/EiGfB0QBTV4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>34.<\/strong> <strong>Reason To Believe<\/strong> (From&nbsp;<em>Nebraska<\/em>, 1982)<\/h2>\n\n\n\n<p><em>Did you hear the one about the no-show wedding, the funeral and the dead dog?<\/em><\/p>\n\n\n\n<p>For some, it\u2019s a chink of hope at the end of&nbsp;<em>Nebraska<\/em>\u2019s long dark journey into night: that somehow, \u201cat the end of every hard earned day people find some reason to believe\u201d. Springsteen himself, however, contends that this paradoxically upbeat song represents \u201cthe bottom\u201d. Audible proof follows verse two\u2019s depiction of Mary Lou hopelessly waiting for mean Johnny to return, with the singer sneering, almost spitting the word \u201cfunny\u201d. Life\u2019s a sick joke, and then you\u2019re a dead dog on Highway 31.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Reason to Believe\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/H49obsV6oZ0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>33.<\/strong> <strong>Tougher Than The Rest<\/strong> (from&nbsp;<em>Tunnel Of Love<\/em>, 1987)<\/h2>\n\n\n\n<p><em>Pick-up lines from inside the mind of a bad man.<\/em><\/p>\n\n\n\n<p>It\u2019s Saturday night. We\u2019re in a bar. Our narrator is watching a woman, been watching her a while. An emotionless snare plays over a cold Linn drum sample and the brassy drone of a synth. \u201cWell if you\u2019re looking for love,\u201d sings a weary Springsteen, \u201cHoney I\u2019m tougher than the rest.\u201d Tough means strong, difficult, violent. The song moves through all those meanings until we arrive at an ultimatum: \u201cIf you\u2019re rough enough for love\u2026 all you got to do is say yes.\u201d Do not say yes.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Bruce Springsteen - Tougher Than the Rest (Official Video)\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/_91hNV6vuBY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>32.<\/strong> <strong>Prove It All Night<\/strong> (From&nbsp;<em>Berkeley, July 1, 1978<\/em>, 2001)<\/h2>\n\n\n\n<p><em>According to Springsteen, how \u201csuccess requires sacrifice\u201d.<\/em><\/p>\n\n\n\n<p>Inspired by a conversation with a cabbie who moaned how he had to prove it all day to his boss and all night to his wife (and the kids at the weekend), this first single off&nbsp;<em>Darkness<\/em>&nbsp;explores macho bravado, the speed of life and seeking male validation through sexual agency. While the studio version is great, the extended live version from his \u201978 tour with&nbsp;_that_blissful, soulful piano\/guitar intro is better. Check out his performance at Berkeley Community Theatre from July 1 for proof.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>31.<\/strong> <strong>Wreck On The Highway<\/strong> (from&nbsp;<em>The River<\/em>, 1980)<\/h2>\n\n\n\n<p><em>The car song to end all car songs.<\/em><\/p>\n\n\n\n<p>The automobile looms large in the mythology of rock and roll, and within Springsteen\u2019s oeuvre more than most. Indeed, it\u2019s hard to imagine what his music would sound like had the DMV never given him a licence \u2013 would Wendy have taken a chance in Thunder Road if they had to take a bus? Loosely based on Dorsey Dickson\u2019s 1930s country song of the same name, Wreck On The Highway, however, is shorn of all glamour as our narrator comes across a wrecked car on the highway late at night and finds the young driver dying by the roadside. The final song on&nbsp;<em>The River<\/em>, its sombre reflections on mortality feel like a bridge to the bleak, beautiful&nbsp;<em>Nebraska.<\/em><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Wreck on the Highway\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/D-MthLm7_m0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>30.<\/strong> <strong>State Trooper<\/strong> (from&nbsp;<em>Nebraska<\/em>, 1982)<\/h2>\n\n\n\n<p><em>Taxi Driver: The Musical relocated to the highway.<\/em><\/p>\n\n\n\n<p>\u201cOne of the most amazing records I ever heard,\u201d quoth Bruce on&nbsp;Suicide\u2019s horrifying 1977 tune Frankie Teardrop; seldom has one&nbsp;classic mapped so brilliantly onto another. Where despairing factory&nbsp;worker Frankie shoots his family then himself, Springsteen\u2019s loner&nbsp;heads towards final deliverance down the New Jersey Turnpike in the&nbsp;wee, wee hours \u2014 a bleakly ironic echo of Chuck Berry\u2019s gallivanting&nbsp;relish. More chilling still, as the song dissolves Bruce echoes the&nbsp;animal yelps of Suicide\u2019s Alan Vega, rockabilly as psychological&nbsp;apocalypse.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"State Trooper\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/wpvXfLlcHwc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>29.<\/strong> <strong>Tenth Avenue Freeze-Out<\/strong> (from&nbsp;<em>Born to Run<\/em>, 1975)<\/h2>\n\n\n\n<p><em>The E Street Band Origin Story.<\/em><\/p>\n\n\n\n<p>The song wasn\u2019t happening in the studio until Miami Steve Van Zandt sang those exuberant horn parts to the session guys. That moxie got him in the band. And forming a band is what this celebrates \u2013 the bonding of gypsy running buddies and \u201cprofessional hitmen\u201d, all mirrored in an elbow-rubbing groove and private lingo lyric. Springsteen called the title \u201cjust a cool phrase\u201d, but it conjures up an inaccessible street of dreams for his gang to thaw and conquer. They did that soon enough.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Tenth Avenue Freeze-Out\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/LOkQsVJV8ts?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>28.<\/strong> <strong>I\u2019m On Fire<\/strong> (from&nbsp;<em>Born In The USA<\/em>, 1984)<\/h2>\n\n\n\n<p><em>Declaration of lust swaps stars-and-stripes for a red flag.<\/em><\/p>\n\n\n\n<p>John Sayles\u2019s video \u2013 Springsteen as flirty mechanic \u2013 sold this single as adult rock erotica. Alone in \u201csoaking wet\u201d sheets with its \u201cbad desire\u201d, though, it lands differently. \u201cHey little girl\u201d might be standard pop idiom, but alongside insistent percussion, violent imagery (a knife, a \u201cfreight train running through the middle of my head\u201d), tensed vocals and synths that shade from John Hughes into John Carpenter, it\u2019s less quaint come-on, more stalker\u2019s lament. This burning, suggests Springsteen, ever alert to the damaged, is an infernal flame.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Bruce Springsteen - I&#039;m On Fire (Official Video)\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/lrpXArn3hII?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>27.<\/strong> <strong>Growin\u2019 Up<\/strong> (from&nbsp;<em>Greetings From Asbury Park, NJ<\/em>, 1973)<\/h2>\n\n\n\n<p><em>The frustrated smalltown teenage rebel\u2019s tale\u2026<\/em><\/p>\n\n\n\n<p>\u201cMy biography,\u201d admitted Springsteen, who advised that a song which was part of his Columbia audition is best consumed when the temperature is 95 and the humidity 90. Propelled by David Sancious\u2019s twinkling piano, it combines teenage insecurity with teenage swagger and the need to blend in with the need to stand out. Setting the template for so much of what was to come, Springsteen was as poetic as he was direct. And, of course, a potentially brighter future lies in an \u201cold parked car\u201d.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Bruce Springsteen - Growin&#039; Up (Official Audio)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/Bw_sYSOBepk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>26.<\/strong> <strong>Hungry Heart<\/strong> (from&nbsp;<em>Live 1975\u201385<\/em>, 1986)<\/h2>\n\n\n\n<p><em>Tennyson + Ramones + chimes? Your first hit.<\/em><\/p>\n\n\n\n<p>On the 1980 single that became his first smash, Springsteen sounded a touch short of the grit and longing inside his would-be adulterer\u2019s anthem. But onstage he couldn\u2019t hide his happiness or himself. Here, from the same year, a Nassau Coliseum crowd shouts the first verse before he can, speaking to its universal resonance and elegant simplicity (he wrote it, quickly, for the Ramones). Whether it\u2019s new sex, love, or adventure, we are, as Tennyson offered, \u201calways roaming with a hungry heart.\u201d<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Bruce Springsteen - Hungry Heart (Official Audio)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/boJhWtw-6Gg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>25.<\/strong> <strong>Darkness On The Edge Of Town<\/strong> (from&nbsp;<em>Darkness On The Edge Of Town<\/em>, 1978)<\/h2>\n\n\n\n<p><em>What we do in the shadows.<\/em><\/p>\n\n\n\n<p>There\u2019s such theatricality in this song\u2019s introduction \u2013 strutting piano, shiny tambourine \u2013 that it feels like Springsteen bringing up the house lights on the world he\u2019s brought to life. It fits a track so interested in fa\u00e7ade and performance, from the woman \u201cwith a style she\u2019s trying to maintain\u201d to the insistence that \u201ceverybody\u2019s got a secret\u201d. The street-racing narrator is flesh-and-blood solid but there\u2019s a fantastic sense of Springsteen stage-managing his own universe here, prowling a backlit set in a rock\u2019n\u2019roll Our Town.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Darkness On the Edge of Town\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/0LpdEyGhNxM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>24.<\/strong> <strong>Girls In Their Summer Clothes<\/strong> (from&nbsp;<em>Magic<\/em>, 2007)<\/h2>\n\n\n\n<p><em>Beach Boys go Proust.<\/em><\/p>\n\n\n\n<p>It\u2019s Kurt Weill\u2019s September Song repurposed as a Brian Wilson lamentation for lost youth, with requisite 12-string guitars and Jack Nitzsche-style string arrangement. Yet the wry, melancholy note to Springsteen\u2019s delivery (\u201cThe girls in their summer clothes\u2026 pass me by\u201d) hints at the layered, self-reflexive pop of The Magnetic Fields, and gradually this romantic narrator reveals himself as more bitter than bittersweet, someone who believes the waitress pouring him coffee \u201cwent away [and] cut me like a knife\u201d. A cloud moves across the sun.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Bruce Springsteen - Girls In Their Summer Clothes (Official HD Video)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/oU1ylbJ-V7U?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>23.<\/strong> <strong>Meeting Across The River<\/strong> (from&nbsp;<em>Born To Run<\/em>, 1975)<\/h2>\n\n\n\n<p><em>It\u2019s a deal.<\/em><\/p>\n\n\n\n<p>Not the last time the worlds of Tom Waits and Bruce Springsteen would collide (they\u2019d share the former\u2019s Jersey Girl). In this island of&nbsp;<em>Porgy &amp; Bess<\/em>&nbsp;amidst the&nbsp;<em>sturm und drang<\/em>, our hero is heading for a pow-wow with some made guys, and he needs his pal Eddie to look like he\u2019s packing. Around him swirls Randy Brecker\u2019s bluesy trumpet and Roy Bittan\u2019s solemn piano, telling you what you already know \u2013 these doomed small-timers are headed for a dip in the Hudson.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Meeting Across the River\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/c6OAtvjSf1Y?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>22.<\/strong> <strong>Streets Of Philadelphia<\/strong> (from&nbsp;<em>Philadelphia OST<\/em>, 1993)<\/h2>\n\n\n\n<p><em>A Grammy&nbsp;and&nbsp;Oscar winner that\u2019s hardly there.<\/em><\/p>\n\n\n\n<p>Jonathan Demme\u2019s groundbreaking Philadelphia, in which Hollywood icon Tom Hanks played a gay AIDS patient, required a theme that captured the narrative\u2019s devastating core. The director cried when he first heard Springsteen\u2019s response. Backed only by Tommy Sims\u2019s ethereal backing vocal, Springsteen ghosts in on a drum machine, shaded by synthetic strings, haunted and haunting. He tried a band version but junked it; what we hear is the demo. \u201cI can feel myself fading away,\u201d sings Springsteen. It\u2019s like the music feels the same.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Bruce Springsteen - Streets of Philadelphia (Official Video)\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/4z2DtNW79sQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>21.<\/strong> <strong>Blinded By The Light<\/strong> (from&nbsp;<em>Greetings From Asbury Park, N.J.<\/em>, 1973)<\/h2>\n\n\n\n<p><em>A \u2018new Dylan\u2019 cuts loose like a deuce.<\/em><\/p>\n\n\n\n<p>It is the very first song on the very first album to be released by Bruce Springsteen, and that context alone makes it important. That it was also the man\u2019s first single underlines its significance as an introduction to the man, his music, and his world.<\/p>\n\n\n\n<p>And what did Blinded By The Light tell us about Bruce Springsteen? That he\u2019d swallowed a rhyming dictionary? That he was here to be noticed, at any cost? Its ambitious, phonetic jumble dually evoked Subterranean Homesick Blues and My Back Pages and was the sort of thing that tempted record execs to toy with nicknames like \u2018the New Dylan\u2019. Yet it\u2019s to record execs that we owe the song\u2019s existence \u2013 because Columbia label boss Clive Davis told Springsteen he didn\u2019t hear a hit on the first version of the album, so he came back with Spirit In The Night, and this, and all was forgiven.<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>An impressive jolt of prescience from a 23-year-old just launching his career.<\/p>\n<\/blockquote>\n\n\n\n<p>Blinded By The Light wasn\u2019t a hit, but it served its purpose, and with saxophonist Clarence Clemons well up in the mix, it may have be the most E Street Band-ish track of the entire LP. Within the nonstop lyrical flow \u2014 opening line: \u201cMadman drummers bummers and Indians in the summer with a teenage diplomat \/ In the dumps with the mumps as the adolescent pumps his way into his hat\u201d \u2014 were discernible hints of a reckless, joyous autobiography that we all would watch develop in the years to come. And the payoff offered by the song\u2019s final line \u2013 \u201cMama always told me not to look into the sights of the sun \/ Woah but mama that\u2019s where the fun is\u201d \u2013 was an impressive jolt of prescience from a 23-year-old just launching his career as the sun blazed overhead.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Blinded By The Light\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/xPy82OO6vRg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>But wait \u2014 not a hit? Don\u2019t tell that to Manfred Mann\u2019s Earth Band, who covered Blinded By The Light on their 1976&nbsp;<em>The Roaring Silence<\/em>&nbsp;set and, remarkably, gave Bruce Springsteen his first and only Number 1 single as a songwriter on the Billboard Hot 100 chart. As an added bonus, Mann vocalist Chris Thompson seemed to be singing \u201cwrapped up like a douche\u201d (the original lyric is \u201ccut loose like a deuce\u201d), which popularized the song to an entirely new set of sniggering young listeners.<\/p>\n\n\n\n<p>An unexpected bit of closure? Blinded&#8230; was performed at the last full gig Clarence Clemons played with the E Street Band before his death in 2011. It was November 22, 2009, in Buffalo, and Springsteen &amp; Co. played the&nbsp;_Greetings_album from start to finish.<\/p>\n\n\n\n<p>\u201cThis was the miracle,\u201d Springsteen announced before the band launched into Blinded&#8230; \u201cThis was the record that took everything from way below zero to\u2026 (<em>significant<\/em>&nbsp;pause)\u2026 one. A Big, big, big moment. A big time.\u201d<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>20.<\/strong> <strong>Brilliant&nbsp;Disguise<\/strong> (from&nbsp;<em>Tunnel Of Love<\/em>, 1987)<\/h2>\n\n\n\n<p><em>Doubts and lies combine, beguilingly<\/em><\/p>\n\n\n\n<p>Sometimes, when listening to Brilliant Disguise, you find yourself hankering to hear the demo, the version Springsteen recorded at his New Jersey home studio in February 1987. If only we could experience this song of romantic doubt and insecurity as its \u2018true\u2019 self, without the deceptive synthetic warmth of that ubiquitous Yamaha DX-7, Roy Bittan\u2019s&nbsp;Roland D-50, or Max Weinberg\u2019s somewhat cheesy maracas and castanets&#8230;<\/p>\n\n\n\n<p>But that would be missing the point. Brilliant Disguise is a song about what goes on beneath the surface; the internal monologue of a man already suspicious of the new love he\u2019s found, a suspicion rooted in his own lies and guilt: \u201cI want to know if it\u2019s you I don\u2019t trust \/ \u2019Cause I damn sure don\u2019t trust myself.\u201d It\u2019s also a song about masks and self-identity, about what hides behind the front we present to the world. As such, it exists both as artifice and truth. Whether intentional or not, its synthetic gilding, that cold-room Bob Clearmountain reverb on Bruce\u2019s voice, is part of its meaning.<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>A song about masks and self-identity, about what hides behind the front we present to the world.<\/p>\n<\/blockquote>\n\n\n\n<p>Of course, there is more here. Springsteen had recently married the model and actress&nbsp;Julianne Phillips but the two were already experiencing problems in their relationship. Almost simultaneously, he had invited the singer Patti Scialfa into the E Street Band and the two had become close friends. On one level, Brilliant Disguise can be easily read as a song about Phillips and the doubts the singer had had about her ever since their wedding (\u201cOh, we stood at the altar \/ The gypsy swore our future was right \/ But come the wee wee hours \/ Well maybe, baby, the gypsy lied.\u201d) Yet, as Springsteen himself said in \u201905\u2019s VH1 Storytellers\u2014On Stage DVD, \u201cSongs shift their meanings in time [and] with who you sing them with. When you sing this song with somebody you love, it becomes a reaffirmation of the world\u2019s mysteries. Its shadows, our frailties, and the acceptance of those frailties, without which there is no love.\u201d<\/p>\n\n\n\n<p>It\u2019s a great point but Springsteen is too modest to point out that it only works if those ambiguities, those shadows, exist in the song in the first place. As is so often the case with great Boss songs, Brilliant Disguise places its narrator in a mid-point between certainties, that intangible wee-wee-hours landscape he returns to so often, where mystery holds sway. It\u2019s a song that will never be fixed in its meaning because it purposefully resists certainty and resolution. Even its final line is a puzzle, a koan-like statement with no solution, a phrase intended to resist interpretation yet resonate with everyone who hears it: \u201cGod have mercy on the man \/ Who doubts what he\u2019s sure of.\u201d<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Bruce Springsteen - Brilliant Disguise (Official Video)\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/idnJnjV_8rg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>19.<\/strong> <strong>Backstreets<\/strong> (from&nbsp;<em>Born To Run<\/em>, 1975)<\/h2>\n\n\n\n<p><em>Love and betrayal, in sweltering song.<\/em><\/p>\n\n\n\n<p>Backstreets is all about delayed gratification: Roy Bittan\u2019s piano intro lasts a full minute, racking up the tension before his organ peals spearhead the band charge. And then the vocal, hot and heavy to match the opening line, \u201cOne soft infested summer&#8230;\u201d In this tale\/trail of broken promises and trust, Springsteen gets so carried away remembering his hurt that he ends up hollering \u201chiding on the backstreets\u201d a full 26 times at the end, lost and found in the moment.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Backstreets\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/USQ697oqkaw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>18.<\/strong> <strong>American Skin (41 Shots)<\/strong> (from&nbsp;<em>Live In New York City<\/em>, 2001)<\/h2>\n\n\n\n<p><em>Social commentary of sadly enduring relevance.<\/em><\/p>\n\n\n\n<p>When an NYPD union calls for a boycott and refuses to work security at your shows, you know you\u2019ve hit a raw nerve. Written in response to the death at police hands of a young unarmed student \u2013 and the subsequent acquittal of four officers accused of his murder \u2013 American Skin has proved sadly prescient in the light of subsequent tragedies. Some songs work best live and Springsteen\u2019s simmering rage is the perfect, emotional tone. If music offers a window on society, the view here is intense.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Bruce Springsteen &amp; The E Street Band - American Skin (41 Shots) (Live in New York City)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/aQMqWAiWPMs?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>17.<\/strong> <strong>Because The Night<\/strong> (from&nbsp;<em>Live 1975-1985<\/em>, 1986)<\/h2>\n\n\n\n<p><em>Because everything seems possible after dark.<\/em><\/p>\n\n\n\n<p>Jimmy Iovine persuaded Springsteen to gift Patti Smith the work in progress he\u2019d first titled The Night Belongs To Lovers. How best to respond to her more graceful and incantatory take, a stunning UK Number 5 in 1978? This gnarly 1980 Nassau Coliseum instance opts for pooled E Street muscle, the night a crucible of desperate passions as (forbidden?) lovers loose the chains of work and duty. It ain\u2019t subtle and Bruce retires Smith\u2019s refinements to his lyrics, but the stakes feel thrillingly high.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Because the Night (Live at Nassau Coliseum, Uniondale, NY - December 1980)\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/Hwn4MTbI4k4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>16.<\/strong> <strong>Atlantic City<\/strong> (from&nbsp;<em>Nebraska<\/em>, 1982)<\/h2>\n\n\n\n<p><em>The rot of Jersey\u2019s Las Vegas as metaphor.<\/em><\/p>\n\n\n\n<p>Fans of HBO\u2019s Boardwalk Empire won\u2019t need telling of Atlantic City\u2019s history as a mobbed-up resort made by Prohibition. Here, Springsteen reads more recent crime stats \u2013 \u201cThey blew up the chicken man in Philly last night\u201d refers to the gang murder of Phil \u201cThe Chicken Man\u201d Testa in 1981 \u2013 and turns Atlantic City into any place the spectres of hope still whisper, even now \u201cour luck may have died and our love may be cold\u201d. His scratchy mandolin provides the death rattle.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Bruce Springsteen - Atlantic City\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/M3eu1gW-bQ8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>15.<\/strong> <strong>Candy\u2019s Room<\/strong> (from&nbsp;<em>Darkness On The Edge Of Town<\/em>, 1978)<\/h2>\n\n\n\n<p><em>A lifelong romantic\u2019s priapic sprint. \u201cBaby if you want to be wild\u2026\u201d<\/em><\/p>\n\n\n\n<p>A widescreen blockbuster in domestic miniature, a five-minute epic squeezed into 2:46, Candy\u2019s Room is Springsteen on fast-forward and in tight-focus. The subject is frenzied carnal satisfaction, a boilerplate rites-of-passage-with-prostitute vignette that Springsteen elevates with his customary gravitas. But it\u2019s the E Street Band\u2019s gallop, as much as the singer\u2019s Roy Orbison melodrama, that makes the song so extraordinary: starting with Max Weinberg\u2019s pulse-quickening cymbals; peaking like a punk velocity Spector production. On this occasion, overdriven pace enhances rather than defuses the passion.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Candy&#039;s Room\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/CyPfb0vOVfo?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>14.<\/strong> <strong>Dancing In The Dark<\/strong> (from&nbsp;<em>Born In The USA<\/em>, 1984)<\/h2>\n\n\n\n<p><em>A song about lost spark, that started a fire.<\/em><\/p>\n\n\n\n<p>Having listened to what would become&nbsp;<em>Born In The USA<\/em>, Springsteen\u2019s manager Jon Landau felt it lacked it a hit and instructed his charge to deliver one. Worn down after writing 80-plus-songs already, Springsteen dashed Dancing In The Dark off overnight (\u201cman I\u2019m just tired and bored with myself\u201d).&nbsp;&nbsp;Yet with its uplifting melody that hinted at the glory of early&nbsp;Bruce and polished to radiance with some 80s synths, it became his biggest ever hit and his first Grammy winner.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Bruce Springsteen - Dancing In the Dark (Official Video)\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/129kuDCQtHs?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>13.<\/strong> <strong>The Promised Land<\/strong> (from&nbsp;<em>Darkness On The Edge Of Town<\/em>, 1978)<\/h2>\n\n\n\n<p><em>The boss sounding anything but like a boss.<\/em><\/p>\n\n\n\n<p>\u201cMister, I ain\u2019t a boy, no, I\u2019m a man,\u201d sings The Boss, sounding every bit the put-upon employee. The Springsteen captured on The Promised Land is working in his father\u2019s garage and wishing he was just about anywhere else. A feeling of frustration that echoed where he was in real life: tied up in legal red tape and unable to record. The song glistens with hope, though,&nbsp;<em>Highway 61 Revisited<\/em>-like organ and wheezing harmonica adding to it magnificently.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Bruce Springsteen - The Promised Land\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/SF13Q2pPBz4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>12.<\/strong> <strong>The Ghost Of Tom Joad<\/strong> (from&nbsp;<em>The Ghost Of Tom Joad<\/em>, 1995)<\/h2>\n\n\n\n<p><em>His most powerful of many invocations of Steinbeck.<\/em><\/p>\n\n\n\n<p>The heroic protagonist of The Grapes Of Wrath was first celebrated musically in Woody Guthrie\u2019s Tom Joad Parts 1 &amp; 2. Forty-five years later, Springsteen invoked Joad again, with a vision of contemporary American taken straight from Steinbeck\u2019s Dust Bowl classic \u2013 Hooverville-style camps, preachers vainly quoting Matthew 19, the myth of a Promised Land. If&nbsp;<em>Nebraska<\/em>&nbsp;was bleak, this solemnly intoned album leitmotif is bleaker still: for America\u2019s poorest, nothing has \u2013 or will \u2013 ever change, and you can almost taste Springsteen\u2019s bitter helplessness.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Bruce Springsteen - The Ghost of Tom Joad (Official Audio)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/2Nbe2O-mJmc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>11.<\/strong> <strong>Jungleland<\/strong> (from&nbsp;<em>Born To Run<\/em>, 1975)<\/h2>\n\n\n\n<p><em>Bruce\u2019s Baba O\u2019Riley.<\/em><\/p>\n\n\n\n<p>Epic in ambition, duration and production \u2014 19 months from first&nbsp;recorded rehearsal to completion, with Clarence Clemons\u2019s celebrated&nbsp;sax solo requiring 16 hours of takes before Springsteen was satisfied \u2014&nbsp;Jungleland is a nine-minute slogfest between starry-eyed Broadway&nbsp;romanticism and The Who\u2019s grandstanding defiance. (Praising Pete&nbsp;Townshend for making rock\u2019n\u2019roll \u201cspiritual, a quest\u201d, Springsteen has&nbsp;described Jungleland as \u201call night, the city and spiritual&nbsp;&nbsp;battleground\u201d.) Guaranteed to bring the house down on stage, every&nbsp;live version is terrific too.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Jungleland\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/l6IwxpL-ZDk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>10.<\/strong> <strong>Born In The U.S.A.<\/strong> (from&nbsp;<em>Born in the U.S.A.<\/em>, 1984)<\/h2>\n\n\n\n<p><em>Easily misinterpreted? Only if you\u2019re not listening.<\/em><\/p>\n\n\n\n<p>In 1968, when Bruce Springsteen dropped out of Ocean County community college, he almost dropped directly into the draft and the jungles of Vietnam. Student deferment had not only kept the teenage longhair at home but also enabled him to spend late nights in clubs, galvanizing his guitar chops. When his notice to show in Newark for potential service arrived, Springsteen \u2013 who had already lost friends in the war \u2013 resolved to dodge. He played crazy, played up wounds from a motorcycle crash, and, deemed ineligible for service, continued to play his songs. As the war ground into disaster, killing millions, Springsteen crept toward stardom.<\/p>\n\n\n\n<p>But survivor\u2019s guilt has a long tail, and caught up with the singer at the dawn of the \u201980s. A string of activists, authors, and survivors enlisted him in the fight for veterans\u2019 rights and respect. \u201cUnless we can look into the eyes of those men and women,\u201d he said during a 1981 benefit, \u201cwe\u2019re never gonna get home.\u201d Written and first recorded during the same rush of down-and-out character studies that yielded&nbsp;<em>Nebraska<\/em>, Born in the U.S.A. charts the course of those waylaid veterans, trying to get back to a home he had never left.<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>Its brilliance is the human wreckage buried beneath the glittering fa\u00e7ade.<\/p>\n<\/blockquote>\n\n\n\n<p>Despite a refrain that Republican President Ronald Reagan tried to make a campaign rallying cry, Born In The U.S.A. proffers a sexless, hopeless, futureless void, a Springsteen anomaly. Raised in a deindustrialized and crumbling country, its soldier only finds work in the killing fields; back stateside, he finds home only in the prison where he presumably dies, dreams burning like the toxic \u201cgas fires of the refinery\u201d next door. With its war-holler chorus and sunburst keyboards, the five-minute E Street version sounds every second like a hero\u2019s theme; its brilliance is the human wreckage buried beneath that glittering fa\u00e7ade. Springsteen dodged the draft, but he would not dodge what his country had done to its sons and daughters, his brothers and sisters.<\/p>\n\n\n\n<p>The singer has often suggested he got the song wrong, that the hit single\u2019s hyper-charged ambiguity made it vulnerable to appropriation. The lugubrious acoustic original should have been on&nbsp;<em>Nebraska<\/em>, he said; a subsequent solo harmonica-and-stompbox rendition on tour suggested he was auditioning for Swans. No to all that. More powerful than Max Weinberg\u2019s gated snares, Roy Bittan\u2019s magnetic keys, and even that Pentecostal refrain are the questions the classic implies: What lies are you telling yourself to live? What is the cost of your freedom? And just what is that freedom, anyway?<\/p>\n\n\n\n<p>Born in the U.S.A. imagines a patriotism without facile jingoism or belligerent nationalism, a forever-probing state of mind where you can venerate overarching ideals while mourning the rot within. This paradox is more striking now even than then, an unshakable reminder that your city on a hill often rests on a pile of corpses.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Bruce Springsteen - Born in the U.S.A. (Official Video)\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/EPhWR4d3FJQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>9.<\/strong> <strong>The Rising<\/strong> (from&nbsp;<em>The Rising<\/em>, 2002)<\/h2>\n\n\n\n<p><em>The finest 9\/11 song.<\/em><\/p>\n\n\n\n<p>It wasn\u2019t a surprise that nobody articulated America\u2019s post 9\/11 with as sure and tender touch as Springsteen, but his unblinking portrayal of a firefighter in the twin towers was both balm and horror. Infused with Biblical and Shakespearean imagery, it begins with our hero disorientated in the darkness and ends with his apocalyptic final visions and the prospect of rebirth. It could have been a ballad, but instead the E Street Band kicked up a claustrophobic cacophony which still feels right, 20 years later.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Bruce Springsteen - The Rising (Official Audio)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/BDbJhvRrJak?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>8.<\/strong> <strong>Badlands<\/strong> (From&nbsp;<em>Darkness On The Edge Of Town<\/em>, 1978)<\/h2>\n\n\n\n<p><em>He wants the world and he wants it now.<\/em><\/p>\n\n\n\n<p>On the lead track to&nbsp;<em>Darkness On The Edge Of Town<\/em>, Springsteen channels his adoration for The Animals \u2013 the sedition of It\u2019s My Life with the riff from Don\u2019t Let Me Be Misunderstood \u2013 to produce a rebel tale full of hard living and blue collar struggle. It\u2019s a proper rock\u2019n\u2019roll anthem and a blueprint for what The Clash did next with Springsteen bellowing lines borrowed from Elvis: \u201cPoor man wanna be rich, rich man wanna be king\u201d before Clarence Clemons\u2019s triumphant, even heroic sax blowing solo.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Bruce Springsteen - Badlands (Official Lyric Video)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/o5IZuuzUa04?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>7.<\/strong> <strong>Nebraska<\/strong> (from&nbsp;<em>Nebraska<\/em>, 1982)<\/h2>\n\n\n\n<p><em>The Banality Of Evil.<\/em><\/p>\n\n\n\n<p>The story of 19-year-old Charles Starkweather\u2019s 1958 killing spree is vividly caught on this solo acoustic demo with harmonica blowing across the bleak landscape like a chill wind. The numbed, matter-of-fact narrative heightens the protagonist\u2019s sense of disconnection from his actions and makes his announcement that he will die at \u201cMidnight in a prison storeroom with leather straps across my chest\u201d, even more shocking. Previous Springsteen anti-heroes had been romantic fictions; here was stark reality.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Nebraska\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/hCpL_ImsiDo?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>6.<\/strong> <strong>Thunder Road<\/strong> (from&nbsp;<em>Born To Run<\/em>, 1975)<\/h2>\n\n\n\n<p><em>Fanfare for the common man (and woman).<\/em><\/p>\n\n\n\n<p>A novel\u2019s worth of narrative crammed into just under five minutes (indeed, we\u2019re given half of Wendy\u2019s story within the first 70 seconds),&nbsp;<em>Born To Run<\/em>\u2019s opener burns with the promise of youth, romance and life\u2019s infinite highway stretching out ahead. All she needs to do is take a chance on this dreamer with little more than a clapped out automobile to his name. Plus, it includes the best dammed with faint praise lyric ever: \u201cYou ain\u2019t a beauty, but, hey you\u2019re alright.\u201d<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Bruce Springsteen - Thunder road\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/YdhkaPZtQF4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>5.<\/strong> <strong>The Promise<\/strong> (from&nbsp;<em>The Promise<\/em>, 2010)<\/h2>\n\n\n\n<p><em>Darkness On The Edge Of Town holdover fine-tunes the tao of Bruce.<\/em><\/p>\n\n\n\n<p>Written circa 1976, The Promise\u2019s&nbsp;\u201cJohnny works in a factory\u2026\u201d wasn\u2019t Bruce\u2019s freshest opening gambit even then, but with its references to Thunder Road and some profound lyric-sheet reveals further in,&nbsp;it&nbsp;played the long game. Epic via stealth and ennobled by a masterful, reined-in feel that perhaps only E Street could muster, its also in the perfect key for Springsteen\u2019s solemn lead-vocal. Glockenspiel glints, stately piano and Ken&nbsp;Ascher\u2019s&nbsp;2010-recorded&nbsp;string arrangement further elevate.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"The Promise\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/a7PhILCrtqs?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>4.<\/strong> <strong>Rosalita (Come Out Tonight)<\/strong> (from&nbsp;<em>The Wild, The Innocent &amp; The E Street Shuffle<\/em>, 1973)<\/h2>\n\n\n\n<p>Let the best times roll, with Jack The Rabbit, Weak Knee Willie, Sloppy Sue, Big Bone Billy et al.<\/p>\n\n\n\n<p>The first great E Street showstopper was also an epitaph of sorts for the band\u2019s early lineup. By&nbsp;<em>Born To Run<\/em>, keyboardist\/arranger David Sancious and drummer Vini \u2018Mad Dog\u2019 Lopez had left the ranks, but here they\u2019re critical to the band\u2019s joyous flex: scrappier, jazzier than what came next (great Byrdsy intro, too). Did Bruce ever write more explicitly about his own naked ambition? Rosalita, remember, reaches its ecstatic highpoint at 5:10, when the singer flaunts his record company advance at her dad.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Bruce Springsteen - Rosalita (Come Out Tonight) (Official Audio)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/YJTfaAb9xh0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>3.<\/strong> <strong>The River<\/strong> (from&nbsp;<em>The River<\/em>, 1980)<\/h2>\n\n\n\n<p><em>Current affair: man hands on misery to man.<\/em><\/p>\n\n\n\n<p>\u201cThat\u2019s my life,\u201d said Springsteen\u2019s sister Virginia on first hearing this Hank Williams-inspired tale of teen pregnancy and mid-life despair. Opening with a ship\u2019s horn blast of harmonica, The River bends its ancient symbolism towards modern hopelessness, as high-school sweethearts (their marriage ceremony the bleakest outside $1000 Dollar Wedding) watch their dreams silt up. It\u2019s the flashes of something better, though \u2013 the undammed piano, green fields, a girl\u2019s \u201cbody tan and wet\u201d \u2013 that turn this song from heartbreaking commentary to heroic mythmaking.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"The River - Bruce Springsteen\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/zHnZP2FmLCc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<p><strong>2.<\/strong> <strong>Born to Run<\/strong> (from&nbsp;<em>Born to Run<\/em>, 1975)<\/p>\n\n\n\n<p><em>The Asbury Park Kid\u2019s shot at the title.<\/em><\/p>\n\n\n\n<p>The snare-pummeling fill. The turbo blast of sax, orchestra bells and surf-twang guitar. Within seconds, it\u2019s clear this record means business. It\u2019s both a brass ring grabber and \u201clast chance power drive\u201d for a Springsteen on the brink of being dropped. With nowhere to go but up, he keeps ratcheting the sweat and adrenaline, until he&#8217;s like \u201968 Comeback Elvis vaulting over Spector\u2019s Wall. \u201cIt\u2019s a 24-year old kid aiming at the greatest rock\u2019n\u2019 roll record ever,\u201d he said. Certainly, it\u2019s close.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Bruce Springsteen - Born to Run (Official Video)\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/IxuThNgl3YA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<p><\/p>\n\n\n\n<h2 class=\"wp-block-heading\">1. Racing In The Street (from&nbsp;<em>Darkness On The Edge Of Town<\/em>, 1978)<\/h2>\n\n\n\n<p><em>Some things hurt more, much more, than cars and girls.<\/em><\/p>\n\n\n\n<p>In the three years that separated&nbsp;<em>Born To Run<\/em>&nbsp;from&nbsp;<em>Darkness On The Edge Of Town<\/em>, Bruce Springsteen became America\u2019s new rock\u2019n\u2019roll star and its anointed saviour. He also got locked out of the recording studio by a contractual dispute with his manager Mike Appel that went to court and got ugly. Springsteen\u2019s response to this new status and its consequences was to dig deep beneath the surface and tend to his working-class roots. \u201cI had a reaction to my own good fortune,\u201d he later reflected. \u201cI asked myself new questions. I felt a sense of accountability to the people I\u2019d grown up alongside.\u201d<\/p>\n\n\n\n<p>If&nbsp;<em>Born To Run<\/em>&nbsp;was the American dream \u2013 the offer of escape, the possibility of renewal, unlimited abundance of freedom \u2013 then what came next was a harsh dose of American reality. Adam Raised A Cain, Streets Of Fire, Factory, Darkness On The Edge Of Town: tough songs for tough times that spoke of a nation\u2019s collective disillusionment as the \u201960s\u2019 brave new future unravelled into the \u201970s\u2019 political scandals and economic recession following defeat in the Vietnam War. Springsteen realised that freedom comes with consequences, and no matter how far you run you can\u2019t escape yourself or where you\u2019re from. August 1977 saw the death of Springsteen\u2019s hero Elvis Presley and punk rock rattling the old order while the E Street Band hunkered down in New York\u2019s Atlantic Studios, pointedly stripping away their music\u2019s neon stardust.<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>Springsteen realised that no matter how far you run you can\u2019t escape yourself.<\/p>\n<\/blockquote>\n\n\n\n<p>No song better calibrated the distance between the dream and the reality than Racing In The Street. Here, Bruce revisits the young lovers he had dispatched down Thunder Road \u201cto case the Promised Land\u201d flying on the notion that \u201cthese two lanes can take us anywhere\u201d. He finds them chastened and broken (\u201cThere\u2019s wrinkles around my baby\u2019s eyes\u201d). They\u2019re either back in the same \u201ctown full of losers\u201d they\u2019d left, or stuck in a different one. Where Thunder Road was giddy and hopeful, Racing In The Street reeks of dearth and despondency.<\/p>\n\n\n\n<p>Over the weary piano motif that carries the whole song, we meet the main protagonist reciting the specifications of his customised car, any sense of thrill long gone: \u201cI got a \u201969 Chevy with a 396\/Fuelie heads and a Hurst on the floor\u2026\u201d To his chagrin Springsteen was soon made aware that the car was a technical impossibility, because Chevrolet\u2019s 396 cubic-inch engine obviated the need for fuel injection. Yet he stuck with it, perhaps pleased at the irony of a song about thwarted dreams opening with a vehicle that couldn\u2019t actually exist.<\/p>\n\n\n\n<p>We hear tales of drag race glory: the driver and his pal Sonny ride \u201cfrom town to town\u201d, challenging rivals across the northeast states (\u201cWe shut \u2019em up and then we shut \u2019em down\u201d), but there\u2019s no light in his voice. The lyric\u2019s repeated quotation of Martha And The Vandellas\u2019 Dancing In The Street suggests the previous decade\u2019s euphoric promise is no longer sufficient to sustain these people, while the instrumental bridge ruefully references The Beach Boys\u2019 Don\u2019t Worry Baby, a car song from more innocent times. (At a solo 2005 show, Springsteen prefaced Racing In The Street by mentioning its similarity to Two-Lane Blacktop, the 1971 existential road movie starring James Taylor and Dennis Wilson.)<\/p>\n\n\n\n<p>On an album where the performances are predominantly defined by white-heat muscularity, Racing In The Street is a masterclass in restraint, from singer and band alike. There\u2019s barely any guitar, and no part at all for Clarence Clemons\u2019s saxophone, the E Street Band\u2019s totemic lifeforce. Springsteen\u2019s exclusion of his soul brother was justified: live performances of the song from the \u201978 Darkness tour feature Clemons honking superfluously during the bridge. Those same shows, however, especially July 7 at The Roxy in Los Angeles (released in 2018 as part of Springsteen\u2019s Live Archive Series), underscore pianist Roy Bittan\u2019s pre-eminence, every note an intimation of our hero\u2019s fate. Danny Federici is equally vital, his organ shadowing Bittan like a troubled conscience. \u201cSome guys, they just give up living,\u201d the narrator says, whereas others \u201ccome home from work\u2026 wash up and go racin\u2019 in the street\u201d.<\/p>\n\n\n\n<p>Only after the bridge do we eventually learn that Springsteen\u2019s racer has another love: \u201cI met her on the strip three years ago\/In a Camaro with this dude from LA\u201d. He shut down the Camaro and drove off with the girl, but three years on, \u201call her pretty dreams are torn\/She stares off alone into the night\/With the eyes of one who hates for just being born.\u201d The band drops to a hush, only Bittan and a single-note, funereal chant. In the final verse, Springsteen extends a promise, or maybe a prayer, to \u201call the shut down strangers and hot rod angels\u201d: the racer and his girl will \u201cride to the sea \u2013 and wash these sins off our hands\u201d.<\/p>\n\n\n\n<p>For its final two minutes, Racing In The Street turns into one long fade, as Bittan and Federici wrap around each other like a disappearing road on a map, Max Weinberg\u2019s drum sticks marking each white line along the way. We\u2019re right there alongside the couple on their baptismal exit, wondering where they\u2019ll go afterwards \u2013 or indeed, whether they\u2019ll get to the ocean at all. Just before he cedes the spotlight to his keysmen, Springsteen sings one last \u201csummer\u2019s here and the time is right\u201d, noting also: \u201cTonight, tonight the highway\u2019s bright\u201d. It\u2019s hope against hope. In this case, at the end of maybe his greatest song, that\u2019s as good as things get.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Racing in the Street\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/cm9UuM3UXdc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<p>Compiled by: John Aizlewood, Martin Aston, Mike Barnes, John Bungey, Keith Cameron, Grayson Haver Currin, Bill DeMain, Dave DiMartino, Tom Doyle, Danny Eccleston, Pat Gilbert, Jim Irvin, Colin Irwin, Andrew Male, James McNair, John Mulvey, Chris Nelson, Victoria Segal, Michael Simmons, Mat Snow, Lois Wilson<\/p>\n\n\n\n<p><em>Photo: Michael Ochs\/Getty<\/em><\/p>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Boss Sounds: MOJO salutes Bruce Springsteen with a rundown of his greatest ever tracks.<\/p>\n","protected":false},"author":6,"featured_media":446,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_lmt_disableupdate":"","_lmt_disable":"","footnotes":""},"categories":[1],"tags":[],"class_list":["post-444","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"acf":{"article_authors":"","send_as_draft":true,"send_as_paid":true,"send_as_featured":true},"modified_by":"akindell","_links":{"self":[{"href":"https:\/\/flatplanplus.io\/mojov2\/wp-json\/wp\/v2\/posts\/444","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/flatplanplus.io\/mojov2\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/flatplanplus.io\/mojov2\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/flatplanplus.io\/mojov2\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/flatplanplus.io\/mojov2\/wp-json\/wp\/v2\/comments?post=444"}],"version-history":[{"count":11,"href":"https:\/\/flatplanplus.io\/mojov2\/wp-json\/wp\/v2\/posts\/444\/revisions"}],"predecessor-version":[{"id":475,"href":"https:\/\/flatplanplus.io\/mojov2\/wp-json\/wp\/v2\/posts\/444\/revisions\/475"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/flatplanplus.io\/mojov2\/wp-json\/wp\/v2\/media\/446"}],"wp:attachment":[{"href":"https:\/\/flatplanplus.io\/mojov2\/wp-json\/wp\/v2\/media?parent=444"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/flatplanplus.io\/mojov2\/wp-json\/wp\/v2\/categories?post=444"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/flatplanplus.io\/mojov2\/wp-json\/wp\/v2\/tags?post=444"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}