Bruce Springsteen The River (2-CD)
Rolling Stone: Ranked #86 in Rolling Stone's "100 Greatest Albums Of The Eighties" survey (November 1989).
Special Order Item: Usually ships in 7-14 days
- Released: June 16, 2015
- Originally Released: 1980
- Label: Sony Legacy
Rolling StoneRanked #86 in Rolling Stone's "100 Greatest Albums Of The Eighties" survey (November 1989).
Q - 12/94, p.1703 Stars - Good - "...may yet prove to be the greatest evocation of Springsteen's vision, laden as equally with childhood memories and first sex as with life's current disillusions and stale sex....[the title track is] impossibly beautiful..."
CMJ - 11/15/99, p.24"...THE RIVER's got cars, girls, sex, unemployment and alcohol; when you've got a hot band behind you, making all that stuff resonate, well, brother, that's called rock'n'roll."
Q (Magazine) - p.120"[I]t remains his most eclectic offering, rooted in recession-era fables of troubled times..."
Tracks on Disc 1:
- 1.The Ties That Bind
- 2.Sherry Darling
- 3.Jackson Cage
- 4.Two Hearts
- 5.Independence Day
- 6.Hungry Heart
- 7.Out In the Street
- 8.Crush on You
- 9.You Can Look (But You Better Not Touch)
- 10.I Wanna Marry You
- 11.The River
Tracks on Disc 2:
- 1.Point Blank
- 2.Cadillac Ranch
- 3.I'm a Rocker
- 4.Fade Away
- 5.Stolen Car
- 7.The Price You Pay
- 8.Drive All Night
- 9.Wreck on the Highway
Personnel: Bruce Springsteen (vocals, guitar); Steve Van Zandt (guitar); Clarence Clemons (tenor saxophone); Roy Bittan (piano); Danny Federici (organ); Garry Tallent (bass); Max Weinberg (drums); Mark Volman, Howard Kaylan (background vocals).
Producers: Bruce Springsteen, Jon Landau, Steve Van Zandt.
All tracks have been digitally remastered.
Recorded at The Power Station, New York, New York.
Personnel: Bruce Springsteen (vocals, guitar, electric guitar, 12-string guitar, harmonica); Steve Van Zandt (guitar, acoustic guitar, electric guitar, background vocals); Clarence Clemons (saxophone, percussion, background vocals); Roy Bittan (piano); Danny Federici (organ); Max Weinberg (drums).
Audio Mixers: Chuck Plotkin; Toby Scott.
Audio Remasterer: Bob Ludwig.
Recording information: The Power Station, New York, NY.
Photographers: Amanda Flick; Frank Stefanko; David Gahr; Jimmy Wachtel; Barry Goldenberg; Joel Bernstein.
After taking his early urban folk tales of cars and girls as far as he could on Born to Run, Bruce Springsteen took a long, hard look at the lives of those same Jersey street kids a few years down the line, now saddled with adult responsibilities and realizing that the American Dream was increasingly out of their grasp, on 1978's Darkness on the Edge of Town, an album that dramatically broadened Springsteen's musical range and lyrical scope. With 1980's The River, Springsteen sought to expand on those themes while also offering more of the tough, bar-band rock that was his trademark (and often conspicuous in its absence on Darkness), and by the time it was released it had swelled into Springsteen's first two-LP set. The River was Springsteen's most ambitious work to date, even as the music sounded leaner and more strongly rooted in rock & roll tradition than anything on Darkness or Born to Run, and though the album wasn't the least bit short on good times, the fun in songs like "Two Hearts," "Out in the Street," and "Cadillac Ranch" is rarely without some weightier subtext. As the romantic rush of "Two Hearts" fades into the final break with family on "Independence Day" and the sentimentality of "I Wanna Marry You" is followed by the grim truths of the title tune, nothing is easy or without consequence in Springsteen's world, and the album's themes of youthful ideals buckling under the weight of crushing reality are neatly summed up as Springsteen asks the essential question of his career, "Is a dream a lie if it don't come true?" Like many double albums, The River doesn't always balance well, and while the first half is consistently strong, part two is full of songs that work individually but don't cohere into a satisfying whole (and "Wreck on the Highway" is beautiful but fails to resolve the album's essential themes). But if the sequencing is somewhat flawed, Springsteen rises to his own challenges as a songwriter, penning a set of tunes that are heartfelt and literate but unpretentious while rocking hard, and the E Street Band were never used to better advantage, capturing the taut, swaggering force of their live shows in the studio with superb accuracy (and if the very '80s snare crack dates this album, Neil Dorfsman's engineering makes this one of Springsteen's best-sounding works). The River wasn't Springsteen's first attempt to make a truly adult rock & roll album, but it's certainly a major step forward from Darkness on the Edge of Town, and he rarely made an album as compelling as this, or one that rewards repeat listening as well. ~ Mark Deming
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