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As such, this album surely ranks as one of the top five albums in the 1980's (releases that include Micheal Jackson's "Thriller" and Tina Turner's "Private Dancer") and remains essential to any Bruce Springsteen collection. In short, Springsteen's role as self-proclaimed working (every) man is so deftly convincing because, like all the greatest artists, he wrote and sang what he lived. The erotic pump of dance tunes like "Dancing in the Dark," "I'm Going Down" and ballads such as "I'm On Fire" belie the disillusion and bleakness hovering just beneath the bouyantly sunny surfaces. "Born in the USA" contains no throwaway tracks. As the quintessential emblem and chronicler of White American male working class angst, Bruce Springsteen well deserves the crown of "The Boss." Like much of Springsteen's output, "Born in the USA" is deceptively cheerful, slammin' rock and roll, and even patriotic, when in fact it is by turns deeply soulful, perceptive, ironic and cynical. For example, several songs like the title cut and "Glory Days" (both arena rock anthems) and "My Hometown" (a reverential ballad that ponders the blessings [or curses] of provincialism), turn Ronald Reagan's carefully-scripted "Morning in America" optimism on its head. But none of this would really matter so much if Springsteen wasn't such an amazingly gifted writer and an emotionally compelling guitarist and singer.
It serves as a commentary for mid-1980's America: success with an undercurrent of despair. "No thanks, mister." The title track is not, in fact, a patriotic celebration of America but rather a cynical story of a disillusioned Vietnam veteran. Indeed, blue collar, white America took this album to its heart. In 1984 the Republicans contacted Springsteen to see if he would authorize use of the title song for their 1984 political campaign. This was the pinnacle of Springsteen's career and it turned him into a worldwide superstar and spokesman for America, indeed into its social conscience. One of the keys to this album's success is its mixture of a good-time, fun-rockin' sound with very downbeat, often cynical lyrics.
They could relate both to the patriotism and the cynicism of the record. Ronald Reagan got it all wrong. Springsteen's response. Although the economy was booming and Reagan-era patriotism was at an all-time high, Springsteen turned a spotlight on the people hidden amidst the red, white and blue.
In my opinion Born in the U.S.A. With so many amazing albums it's hard to say which is my favorite Springsteen album. is up there with Born to Run, The River and The Rising, if your a fan of Bruce's I whole heartedly recommend this if your just getting into his music I also recommend it.
Throw this CD into your car and you will be transformed back to your hometown wistfully nostalgic of an era when popular music was, in fact, classic rock. I finally stopped wondering and took the plunge. If you're like me, you had this album in cassette format 25 years ago and got so burnt out on the songs of this "pop era" of Bruce's career that you wondered whether it would be worth repurchasing in CD format. In short: yes. What I discovered is that the songs are as genuine to the spirit of Springsteen's earlier work and - with the benefit of time - not the pop rock that I thought I remembered.
was a great hit album, but as others have said, maybe too commercial. I can hardly stand to listen to it anymore.
I just don't think the same can be said of Born in the U.S.A. has stood the test of time like many of Bruce's other recordings.
As a result I can honestly say I don't think Born in the U.S.A. Many of Bruce's early records and even Bruce's newer stuff (especially The Rising), I believe have, and will become classics for many.
Born in the U.S.A. The album was so over-played (not only on the radio, but by all who owned it).
For example, I can listen to Born to Run (and it could be said it has been over-played as well), and I get into it as much today as I did in 1975.
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