Born in the U.S.A. is the seventh studio album by the American singer-songwriter Bruce Springsteen,released on June 4,1984,by Columbia Records. Produced by Springsteen,Jon Landau,Steven Van Zandt,and Chuck Plotkin,the album was recorded in New York City with the E Street Band over two years between January 1982 and March 1984. Some of the songs originated from the demo tape that yielded Springsteen's previous album,the solo effort Nebraska (1982),while others were written afterward. The sessions yielded between 70 and 90 songs;some were released as B-sides,some later saw release on compilation albums,while others remain unreleased.
Born in the U.S.A. has a more pop-influenced sound than Springsteen's previous albums. Its production is typical of mainstream 1980s rock music,with prominent use of synthesizers. The lyrics contrast with the album's livelier sound and continue the themes of previous records,particularly Nebraska. Topics include working-class struggles,disillusionment,patriotism,and personal relationships,while several tracks incorporate humorous lyrics. The cover photograph of Springsteen from behind against a backdrop of the American flag has appeared on lists of the best album covers ever.
Accompanied by a vast promotional campaign that featured seven singles,five music videos,and three dance remixes,Born in the U.S.A. was a massive commercial success,becoming the best-selling album of 1985 and topping the charts in nine countries,including the United States and the United Kingdom. All seven of its singles,including "Dancing in the Dark","Born in the U.S.A.","I'm on Fire",and "Glory Days",reached the U.S. top ten. The album has sold over 30 million copies worldwide,making it Springsteen's best-selling album and one of the best-selling albums of all time. Upon its release,music critics praised the album's storytelling and musical performances,while others criticized the use of similar lyrical themes as Springsteen's previous albums. Springsteen and the E Street Band supported the album on the Born in the U.S.A. Tour.
Born in the U.S.A. transformed Springsteen into a worldwide superstar and brought him his largest amount of success to date as a recording and performing artist. He later expressed reservations about the album itself and the fame it brought him;its success influenced his career path for the rest of the 1980s and 1990s. Born in the U.S.A. helped popularize American heartland rock and influenced later artists who wanted to mimic its power and impact. In later decades,publications such as Rolling Stone and NME ranked Born in the U.S.A. one of the best albums by Springsteen,of the 1980s,and of all time. It was inducted into the Grammy Hall of Fame in 2012.
Following the conclusion of the River Tour in September 1981,Bruce Springsteen rented a ranch in Colts Neck,New Jersey.[1][2] While there,he spent time writing new material,[2] including a song called "Vietnam",about a Vietnam veteran returning home from the war to an unenthusiastic response.[3] During the tour,Springsteen read Born on the Fourth of July,a 1976 autobiography by Ron Kovic,an anti-war activist who was wounded and paralyzed during the Vietnam War.[4][5] Kovic's story inspired Springsteen to meet various Vietnam veterans in Los Angeles,California,which in turn inspired the writing of several tracks that centered on or included themes about the Vietnam War:[2] "Vietnam","Shut Out the Light","A Good Man Is Hard to Find (Pittsburgh)","Highway Patrolman",and "Brothers Under the Bridges".[6]
As Springsteen continued developing "Vietnam",the director Paul Schrader asked him to write music for an unmade film called Born in the U.S.A. The screenplay concerned a Cleveland factory worker who works during the day and plays guitar in a bar band at night.[7] Springsteen revised the lyrics and music of "Vietnam",using the film's title to create "Born in the U.S.A."[8][9][10][11] Schrader eventually made the film but retitled it Light of Day,which was released in 1987;[11] Springsteen provided its title song.[8][9]
Using a four-track tape recorder purchased by his guitar technician Mike Batlan,Springsteen demoed tracks he had written during that period in the bedroom of his Colts Neck home between December 17,1981,and January 3,1982.[12][13][14] These included "Born in the U.S.A.","Nebraska","Atlantic City","Mansion on the Hill","Downbound Train",and "Child Bride".[12] Springsteen intended to rerecord the Colts Neck demos with the E Street Band –Roy Bittan (piano),Clarence Clemons (saxophone),Danny Federici (organ),Garry Tallent (bass),Steven Van Zandt (guitar),and Max Weinberg (drums) – during sessions booked to begin in April 1982 at the Power Station in New York City,[15] where The River (1980) had been recorded.[16] From February to March,Springsteen demoed more tracks,including "Wages of Sin","Your Love is All Around Me","Baby I'm So Cold",and "Fade to Black".[17]
In late January 1982,weeks after recording the demos in Colts Neck,Springsteen and the E Street Band were at the Hit Factory in New York City recording a session for Gary U.S. Bonds' album On the Line,for which Springsteen had written seven songs and was co-producing with Van Zandt.[18][19][20] During the session,the band recorded "Cover Me",a song Springsteen had written for Donna Summer. His manager-producer Jon Landau convinced Springsteen to keep it for his next album after hearing the finished recording;[21][22] Springsteen subsequently wrote Summer another song,"Protection",[19] and recorded a version of that song with the E Street Band.[23]
Springsteen (center,kneeling) and the E Street Band in February 1977
In April,Springsteen and the E Street Band regrouped at the Power Station to record the demos as full-band versions for release on the next album.[15][24] Production was handled by Springsteen,Landau,Van Zandt,and The River's mixer Chuck Plotkin,while Toby Scott returned from the Hit Factory sessions as engineer.[25] The band spent two weeks attempting full-band arrangements of the Colts Neck tracks,including "Nebraska","Johnny 99",and "Mansion on the Hill",but Springsteen and his co-producers were dissatisfied with the recordings.[24][26][27] Plotkin has described the performances with E Street as "less meaningful... less compelling... less honest" than the demo recordings.[28]
Other songs from the tape,including "Born in the U.S.A.","Downbound Train","Child Bride" (now rewritten as "Working on the Highway"),and "Pink Cadillac",proved successful in full-band arrangements.[29] According to the author Dave Marsh,the night the band recorded "Born in the U.S.A." was when "they knew they'd really begun making an album."[30] Over the next few weeks into May,[30] the band's productivity increased as they recorded material absent from the Colts Neck tape,including "Darlington County",[a] "Frankie","Glory Days","I'm Goin' Down","I'm on Fire","Johnny Bye-Bye","Murder Incorporated","My Love Will Not Let You Down","A Good Man Is Hard to Find (Pittsburgh)","This Hard Land","None but the Brave",and "Wages of Sin".[b][29][32][33] as well as a new recording of "Cover Me".[c][35] According to Weinberg,these sessions featured little rehearsal as the band went through songs without knowing them fully,often in less than five takes.[36]
Despite the band's productivity and excitement about the recorded material,Springsteen remained focused on the rest of the Colts Neck songs.[37] Realizing the tracks would not work in full-band arrangements,he decided to release the demos as is.[38][39] Springsteen briefly considered releasing a double album of acoustic and electric songs before deciding to release the acoustic ones on their own to give them "greater stature".[d][42] The album,Nebraska,was released in September 1982.[43] It featured nine songs from the original demo tape,[44] and "My Father's House",recorded at Colts Neck in late May.[45] The album sold well,[46] reaching number three in the U.S. and the U.K. charts.[47] According to the pop culture scholar Gillian G. Gaar,music critics praised the album as "a brave artistic statement".[48] Springsteen himself did not promote the album;he conducted no interviews and,for the first time after an album release,did not tour,[49][50] instead vacationing on a cross-country road trip to California.[51]
Further demos and continued sessions
In late 1982,Springsteen and Batlan constructed an eight-track studio in the former's new Los Angeles home. There,he spent time recording new demos that were stylistically similar to the Nebraska tracks,[25][50][52] albeit with a drum machine.[53] Songs demoed from January to April 1983 included "Shut Out the Light","Johnny Bye-Bye","Cynthia","Unsatisfied Heart","Sugarland","The Klansman","My Hometown","Delivery Man",and "Follow That Dream",a reworking of the 1962 Elvis Presley single of the same name.[e] Like the Nebraska tracks,Springsteen felt the new material would not work in a band setting;he considered but ultimately dismissed releasing another solo acoustic album.[48][54][58] During this period,Springsteen made numerous lifestyle changes,including therapy and working on his physique with a weight-training program.[51][54][59] At the end of April,he departed California and traveled back to New York to record more material with the E Street Band.[54]
Springsteen and the E Street Band resumed recording at the Hit Factory between May and June 1983.[25] These sessions featured re-recordings of solo material Springsteen had recently demoed ("Cynthia" and "My Hometown"),as well as work on other tracks such as "Pink Cadillac","Car Wash","TV Movie","Stand on It",and "County Fair".[60][61] These were the first sessions without Van Zandt,who departed the E Street Band in June the year prior and had started a solo career,performing under the name Little Steven.[62][63] According to the author Fred Goodman,Van Zandt departed due to personal clashes with Landau,[64] although other sources state Van Zandt had felt trapped in the E Street Band and was ready to perform solo.[62][65] By the summer of 1983,Van Zandt was touring supporting his second solo album,Voice of America.[51][66] Springsteen's friendship with Van Zandt inspired the writing of two new songs,"Bobby Jean" and "No Surrender".[67]
By July 1983,Springsteen and his co-producers had over fifty tracks to choose from for the album,[68] tentatively titled Murder Incorporated.[f][48] The recorded tracks encompassed numerous styles,including R&B ("Lion's Den","Pink Cadillac"),rockabilly ("Stand on It","Delivery Man"),hard rock ("Murder Incorporated","My Love Will Not Let You Down"),and country and folk ("This Hard Land","County Fair","None but the Brave").[71] At the end of July,Springsteen asked Plotkin to develop a rough mix of the album that included "Born in the U.S.A.","Glory Days","My Hometown","Downbound Train","Follow That Dream","Shut Out the Light","My Love Will Not Let You Down",and "Sugarland".[68][69] Plotkin dismissed the tentative list as "a conceptual mess";he felt the album should begin with "Born in the U.S.A.",end with "My Hometown",and include "Working on the Highway" and "I'm on Fire".[71]
Final sessions,mixing,and mastering
Born in the U.S.A. was mixed by Bob Clearmountain (pictured in 2017).
With Springsteen still unsatisfied with the album,recording continued into the new year.[25][60] Mixing began around this time by Bob Clearmountain,who had mixed The River's "Hungry Heart".[60][72] In October 1983,the band recorded "Bobby Jean" and "No Surrender",[73] while November yielded "Brothers Under the Bridge"[68] and more unreleased songs,including "Shut Down" and "100 Miles From Jackson".[74] At this point,Landau had grown tired of the prolonged recording sessions but remained supportive of Springsteen's vision.[75] By December,Springsteen and his co-producers had tentatively settled on "Born in the U.S.A.","Glory Days","Downbound Train",and "This Hard Land" as final choices for the album.[68]Born in the U.S.A. was decided as the album title by January 1984.[76] The same month,the band recorded "Rockaway the Days" and "Man at the Top".[75][77]
In February,[72] Landau felt the album was still missing a lead single that would introduce Springsteen to a new pop audience. After an initial disagreement about the need for another song,Springsteen came in the next day with "Dancing in the Dark" written;[78][79][80] it was recorded shortly after.[81] The sessions ended in March.[82] Springsteen struggled with the final track-list,but was convinced by Landau and Plotkin to stick with a selection of material largely from the May 1982 sessions.[58] He explained in his 2016 autobiography Born to Run:"By that time,I'd recorded a lot of music... But in the end,I circled back to my original groups of songs. There I found a naturalism and aliveness that couldn't be argued with. They weren't exactly what I'd been looking for,but they were what I had."[83] Eleven songs were selected by April.[84] When Van Zandt heard about the final track listing,he urged Springsteen to include "No Surrender",[64][85] as he felt it acted as a bridge between Springsteen's earlier and current works.[84] Springsteen complied,bringing the final track count to twelve.[82][86] The album was mastered by Bob Ludwig at Masterdisk in New York City.[87]
Outtakes
After over two years of recording,the Born in the U.S.A. sessions yielded between 70 and 90 songs.[25][88] Five were released as B-sides between 1984 and 1985:"Pink Cadillac","Shut Out the Light","Johnny Bye-Bye","Stand on It",and "Janey,Don't You Lose Heart". All five later appeared on the 1998 compilation albumTracks.[89] Other outtakes that appeared on Tracks included "A Good Man Is Hard to Find (Pittsburgh)","Wages of Sin","Cynthia","My Love Will Not Let You Down","This Hard Land","Frankie","TV Movie","Lion's Den","Car Wash","Rockaway the Days","Brothers under the Bridge" (titled "Brothers Under the Bridges '83"),and "Man at the Top".[90][91] "Murder Incorporated" was later released on Greatest Hits (1995),[92] while "County Fair" and "None but the Brave" appeared on the limited edition bonus disc of The Essential Bruce Springsteen (2003).[93] Songs such as "Sugarland","Richfield Whistle","Don't Back Down","Follow That Dream","Fugitive's Dream","Little Girl","Seven Tears",and "The Klansman" have appeared on bootlegs.[94]
Music and lyrics
Born in the U.S.A. is a rock and roll,[95][96][97]heartland rock,[98] and pop album,[51][99] with elements of folk and rockabilly.[100] The album's sound and production have been described as characteristic of mid-1980s mainstream rock,featuring prominent synthesizers,"slamming" guitars,"massive" drums,and "front-and-center" vocals.[g] Some critics noted in 1984 that Springsteen inputted various electronic textures into the album but remained true to his traditional rock and roll roots.[95][105] The author Geoffrey Himes has written that the album was unified by "pop pleasure";songs such as "Born in the U.S.A.","Glory Days","Dancing in the Dark","I'm Goin' Down",and "I'm on Fire" were earworms,featuring melodies and rhythms that "resonated with emotions as basic as lust,loneliness,anger,and yearning and gave them shape".[106] Most of the songs are built around only two or three chords.[95]
My Born in the U.S.A. songs were direct and fun and stealthily carried the undercurrents of Nebraska.[107]
Contrasting with the album's livelier sound, Born in the U.S.A. continues several of the lyrical themes from Springsteen's previous records, particularly Nebraska.[102][103] The author Peter Ames Carlin has written that Born in the U.S.A. "filtered the dystopian gloom of the Nebraska songs into the living world of love, work, and the hobbled pursuit of happiness."[76] Springsteen's characters are married, in their mid-'30s, and dealing with parenthood and recession.[108] For AllMusic's William Ruhlmann, the album is an apotheosis for Springsteen's reoccurring characters, where for the first time ever, the characters "really seemed to relish the fight and to have something to fight for". Following their journeys through Springsteen's first six albums, from being "romantic young boys" to living "the working life" to "fac[ing] despair" on Nebraska, the characters on his seventh album were alive "with their sense of humor and their determination intact".[109] Like Ruhlmann, on Born in the U.S.A. other critics have likewise heard humor,[96][98][105][110] or optimism: for Consequence of Sound's Gabriel Fine, the album seems to argue that "one can both love America and rage against its brokenness".[98] By contrast, the main theme throughout Born in the U.S.A. for Stephen Holden is "the decline of small-town working class life in a post-industrial society".[95] Holden noted that against the mostly upbeat music is "a sad and serious album about the end of the American dream – of economic hope and security, and of community – for a dwindling segment of our society."[95]
The production of "Born in the U.S.A." is characteristic of mid-1980s rock, which emphasized synthesizers, pounding drums, and loud vocals. The song's lyrics, which dissect the cruel mistreatment of Vietnam veterans upon their return home after the war, have been widely misinterpreted.
"Born in the U.S.A." is an energetic, rock and roll song driven by synthesizer and pounding drums.[82][111][112] A protest song,[111][113][114] it dissects the cruel mistreatment of Vietnam veterans upon their return home after the war.[82][98] The song's message is widely regarded as misunderstood,[85][115] as many Americans, including president Ronald Reagan, interpreted it as a patriotic anthem;[111][113][116] several critics also noted how the song could be misconstrued in favor of jingoism.[51][98][117] Margotin and Guesdon discuss the juxtaposition of the verses, which express "the somber reality of a soldier", with the chorus, which "loudly and proudly proclaims the glory of American civilization".[113] AllMusic's Mike DeGayne argued that while the song would have been effective as an acoustic ballad, similar to "My Hometown" or Nebraska's "Atlantic City", "it's the fervor and the might of Springsteen in front of a bombastic array of guitar and drums that help to drive his message home".[111]
"Cover Me" is a straightforward rock song,[85] with elements of pop,[82]disco,[114] and funk.[19] Lyrically, it describes a love story wherein the narrator, suffering from post-traumatic stress disorder, pleas for his lover to stay with him and protect him from the outside world.[19][85] "Darlington County" is an upbeat rock song that some critics compared to the music of Creedence Clearwater Revival.[82][118] It tells the story of two New York friends who embark on a road trip. Upon their arrival in Darlington, South Carolina, they plan to find jobs but instead spend their time with women.[85][118][119] The author Rob Kirkpatrick said the song was "steeped in countrified blue-collarism".[119]
"Working on the Highway" is a rockabilly track[82][120] that sets upbeat music against more downbeat lyrics.[96] It tells the story of a man who runs away to Florida with an underage girl against her father's wishes. When he gets there, he gets arrested and sentenced to forced labor on a highway.[121][122] Originally "Child Bride" from the Nebraska demo tape, the final track retains the same story and several lines from the original lyrics.[120]
"Downbound Train" is a minimalist rock ballad featuring a synthesizer.[98][123] Called the album's saddest song by Billboard's Caryn Rose,[85] the lyrics include themes of disillusionment and loss.[123] It follows a man who has lost everything:[95] after being laid off from his lumberyard job, his wife leaves him, after which he struggles to make a living working at a car wash. Distressed, he dreams of his now ex-wife.[119][123] The song's narrator is similar to the ones on Nebraska and "Stolen Car" from The River. "Downbound Train" originated from a Nebraska demo called "Son You May Kiss the Bride".[119]
"I'm on Fire" is a minimalist[124] ballad whose instrumentation consists of picked guitar, synthesizer, and brushed drums.[82] Musically inspired by Johnny Cash,[124] the song is an ode to adulterous lust,[125] in which the narrator expresses an obsessive and uncontrollable desire for the heroine.[114][124] Analyzing the song's placement in the track listing at the end of side one, Fine wrote that the song leaves "a hushed, solemn interlude in the center of a mostly upbeat, ebullient album", further arguing that "it seems symbolic, both structurally and musically, as if marking a turning point in Springsteen's career from middle-America heartland rocker to synth- and dance-influenced mainstream star."[98]
Side two
Springsteen wrote "No Surrender" and "Bobby Jean" as tributes to his friend, the guitarist Steven Van Zandt (pictured in 1983), who had departed the E Street Band in June 1982.
"No Surrender" is an upbeat[82] 1950s/1960s-style rock song with a "dense, rich, and heavy sound".[126] Lyrically, the song is a statement of friendship,[85] freedom,[126] and "youthful defiance with allusions to blood brotherhood and forced warlike metaphors".[64] The song is complemented by "Bobby Jean", another song about friendship.[95][67][127] In it, the narrator visits the childhood home of the title character, causing his memories of them to come back in a nostalgic tone.[128] Commentators have interpreted the title character's gender as intentionally ambiguous and could refer to the name of any close friend the singer had known since he was a teenager.[51][64] Musically, it is a rock and roll[129] ballad[85] with an accented rhythm and near-dance groove.[130] Both "No Surrender" and "Bobby Jean" have been described as tributes to Steven Van Zandt and his friendship with Springsteen.[51][128]
"I'm Goin' Down" is a rock song[131] with elements of rockabilly.[96][132] Its upbeat music contrasts with the lyrics, which tell a melancholic story about a couple on the verge of a break-up.[85][114][116] The narrator's girlfriend has lost her passion and turned to indifference.[133] "Glory Days" is an energetic synth-rock song that follows a protagonist speaking with old high-school classmates – a former baseball star and a popular girl now divorced with two kids – in a bar reflecting on the "glory days" of their youth with sadness.[85][134][135][136] It was partially based on a true story of Springsteen meeting an old friend at a bar who had had the potential to become a professional baseball player in the early 1970s.[135] Commentators have argued the song opposes nostalgia rather than embracing it, as the protagonist pities the former high-school heroes.[114][134]
"Dancing in the Dark" is an upbeat synth-pop and dance-rock song led by synthesizer.[h] Its protagonist struggles with life – he is bored with himself, cannot look at himself in a mirror, and feels trapped – and wants to change his daily routine by finding a spark that will reignite his imagination. He asks his romantic partner to help him find the "spark", as for now the two live life "without a purpose", or "dancing in the dark".[81][137] Kirkpatrick argued the song examines its author's creative process, showing Springsteen struggling to live up to expectations as both a songwriter and a performer.[137] The song ends with a jazzy saxophone solo from Clemons.[81]
"My Hometown" is a folk ballad[82] driven by a synthesizer.[51][138] Throughout its four verses, the narrator grows up and experiences hardship living in his hometown.[139] Based on Springsteen's personal experiences in his own hometown growing up in the 1960s,[138] the song returns to the social issues present throughout the album's first side, with themes centered on working-class life, racial tensions, violence, and economic strife.[51][139][140]Pitchfork's Sam Sodomsky argued the song "captures what 'Born in the U.S.A.' failed to: the tragedy of the American dream, the brutality and injustice that is fundamental to American citizenship, and the complicated, intractable love for one's home that still manages to take root in the midst of it all."[51]
Artwork
The cover photograph depicts Springsteen standing with his back to the camera against the stripes of an American flag. He is wearing a white T-shirt and jeans, with a red baseball cap tucked into his right back pocket; the cap belonged to the recently deceased father of Springsteen's friend Lance Larson.[62] Springsteen has said that the flag was included on the cover because the first track was called "Born in the U.S.A." and the record's overarching theme reflected his writing of the past six or seven years.[25][141] It was initially controversial; some commentators believed Springsteen was urinating on the flag,[51] which Springsteen asserted was inaccurate, telling Kurt Loder in Rolling Stone that "the picture of my ass looked better than the picture of my face" and that there was no "secret message".[142] The cover, designed by Andrea Klein,[87] is one of a small number of Springsteen's studio album covers to not feature his face, alongside Greetings from Asbury Park, N.J. (1973), Nebraska, Human Touch (1992), The Ghost of Tom Joad (1995), and Western Stars (2019).[143]
The photograph was taken by the rock photographer Annie Leibovitz,[141] formerly of the magazines Rolling Stone and Vanity Fair.[62] Leibovitz herself did not like the photo, referring to it as a "grab shot".[143] Other photographs shot by Leibovitz were used for other promotional materials, such as the "Dancing in the Dark" single cover (capturing Springsteen jumping mid-air wearing a blue shirt, black leather jacket, and black pants) and the Born in the U.S.A. Tour's program (depicting Springsteen jumping in front of the American flag yielding a guitar in a Pete Townshend-like windmill pose).[143]
The inside of the sleeve contains a black-and-white photograph of Springsteen, another of him with the E Street Band, and song lyrics.[25] The sleeve also includes Springsteen's farewell words to Van Zandt written in Italian: Buon viaggio, mia fratello, Little Steven ("Safe travels, my brother, Little Steven").[62] The cover has appeared on Billboard and Rolling Stone's lists of the 100 best album covers of all time at numbers 31 and 42, respectively.[144][145]
Release and promotion
Columbia Records released Born in the U.S.A. on June 4, 1984.[85][146][147] The album was the first compact disc manufactured in the United States for commercial release. It was manufactured by CBS (Columbia's international distributor) and Sony Music at their newly opened plant in Terre Haute, Indiana in September; Columbia's CDs were previously manufactured in Japan.[82][148]
Born in the U.S.A. debuted at number nine on the U.S. Billboard Top 200 Albums chart during the week of June 23, 1984,[149] topping the chart two weeks later on July 7.[150] It stayed in the top 10 for 84 consecutive weeks and on the chart itself for almost three years.[151][152] It was also a commercial success in Europe and Oceania. In the United Kingdom, the album entered the UK Albums Chart at number two on June 16, and after thirty-four weeks, on February 16, 1985, it reached number one and topped the chart for five non consecutive weeks;[153] it was present on the chart for 135 weeks.[153] It also topped the album charts in Australia, Austria, Germany, the Netherlands, New Zealand, Norway, Sweden, and Switzerland.[i] The album reached number two in France, Italy, Spain, and on the European Top 100 Albums chart.[162][163][164][165] It also reached number six in Japan.[166]
By 1984, the music industry had become reliant on singles and music videos for success following the rise of MTV in the U.S. With the success of Michael Jackson's Thriller (1982), record labels wanted to turn albums into "mega-albums". The music industry historian Steve Kropper has said that Thriller created a "video-driven blueprint" to keep an album high in the charts for at least an entire year.[172] Springsteen and Landau had only envisioned one or two singles from Born in the U.S.A.. Feeling otherwise, Columbia planned "at least half a dozen" possible singles, each accompanied by dance remixes and music videos to broaden airplay, both on the radio and in clubs.[141][172] Sodomsky later wrote: "MTV had evolved into a legitimate arm of the music industry, and Springsteen's new look [muscular with a bandana] helped him gain traction in an image-centric medium."[51] Springsteen also conducted interviews with media outlets including People and Entertainment Weekly.[173]
The producer Arthur Baker (pictured in 1984) created extended dance remixes of three of the album's seven singles.
Born in the U.S.A. was supported by a record-tying seven top ten singles.[j][30][82] The first, "Dancing in the Dark" with "Pink Cadillac" on the B-side,[81] was released on May 9, 1984.[176] It peaked at number two on the U.S. Billboard Hot 100 and spent 21 weeks on the chart.[85] Elsewhere, it topped the singles charts in Canada, the Netherlands, and Belgium, and also reached number four in the U.K.[81] The 12" single featured three dance remixes of "Dancing in the Dark" by the producer Arthur Baker;[177] it was the best-selling 12" single of the year.[178] "Cover Me", featuring a 1981 live recording of Tom Waits' "Jersey Girl" as the B-side,[179] was released as the second single on July 31.[19] It spent 18 weeks on the Billboard Hot 100,[85] reaching number seven, as well as number two on Billboard'sMainstream Rock chart.[19] A dance remix by Baker appeared on a 12" single.[174] "Born in the U.S.A.", backed by "Shut Out the Light", was issued as the third single on October 30.[113] It spent 17 weeks on the Billboard Hot 100, reaching number nine.[85] Elsewhere, it topped the charts in Ireland and New Zealand, and peaked at number two in Australia, and number five in the U.K.[113] A dance remix by Baker appeared on a 12" single in January 1985.[180]
"I'm on Fire", backed by "Johnny Bye-Bye",[179] was released as the fourth single on February 6, 1985.[181] It peaked at number six on the Billboard Hot 100 and remained on the chart for 20 weeks.[85] "Glory Days" followed on May 13,[182] with "Stand On It" as the B-side.[135] It spent 18 weeks on the Billboard Hot 100, peaking at number five.[85] The sixth single, "I'm Goin' Down", was issued on August 27,[183] backed by "Janey, Don't You Lose Heart".[133] It reached number nine on the Billboard Hot 100,[85] and also charted in Sweden and Italy.[133] The seventh and final single, "My Hometown", was released on November 21,[138] with a 1975 live recording of the Christmas song "Santa Claus Is Comin' to Town" as the B-side.[179] It reached numbers six and nine in the U.S. and the U.K., respectively.[138] CBS compiled the three extended dance remixes, two other singles, the five exclusive B-sides, and several songs from Springsteen's previous albums for release on The Born in the U.S.A. 12" Single Collection in the U.K. in 1985.[174]
Music videos
The filmmaker John Sayles (pictured in 2008) directed three of the album's five music videos.
Five of the album's seven singles were supported with music videos. The video for "Dancing in the Dark", Springsteen's first true music video,[k][185] depicts a live performance of the song by Springsteen and the E Street Band. Directed by Brian De Palma, it was shot at the St. Paul Civic Center in Saint Paul, Minnesota, on June 28 and 29, 1984. In the video, Springsteen pulls a young fan, played by the then-unknown actress Courteney Cox, on stage to dance;[81][178] Springsteen recreated the bit frequently with young female fans throughout the tour.[147] De Palma's video introduced Springsteen to the MTV generation and helped Springsteen reach the audience he had always wanted since his signing to Columbia in 1972.[185][186] The filmmaker John Sayles directed the videos for "Born in the U.S.A.", "I'm on Fire", and "Glory Days".[187] For the title track, Sayles interspersed concert footage of Springsteen singing the song, shot in Los Angeles in 1984, with footage of small-town America.[l][180][188]
"I'm on Fire" was Springsteen's first narrative video,[189] starring Springsteen himself as an auto mechanic captivated by an unseen young woman in a white dress.[124][190] The video won the award for Best Male Video at the MTV Video Music Awards in 1985.[124] The video for "Glory Days" starred Springsteen as the song's titular baseball player, working on a construction site and practicing baseball pitches alone, reflecting on his "glory days". It transitions to a performance of the song at a club with the E Street Band, featuring both Steven Van Zandt and his replacement guitarist Nils Lofgren, alongside new backing vocalist Patti Scialfa. The video ends with Springsteen's character playing a game of catch with his son until his wife, played by Springsteen's first wife Julianne Phillips, picks them up.[85][135][191] The video for "My Hometown" depicts a live performance of the song.[151] It was directed by Arthur Rosato and was shot towards the end of the tour at the Los Angeles Memorial Coliseum.[138][192]
Born in the U.S.A. received favorable reviews from music critics on release.[97] The album was praised as an accessible record with new musical elements[200] that a few, including Robert Hilburn and Sandy Robertson, believed would please longtime fans and attract new ones.[102][199] Writing for Shreveport, Louisiana's The Times, Marshall Fine wrote: "It's a superb effort, an album of rich musical and lyrical textures that can only enhance Springsteen's reputation as a rock 'n' roll original."[132] Some critics described Born in the U.S.A. as a more accessible version of Nebraska, one that is more easily digestible for a wider audience.[195][201] In Rolling Stone, Debby Miller said Born in the U.S.A. was as well thought-out as Nebraska, but with more sophistication and spirit.[105]
Springsteen's storytelling drew particular attention; Miller saw Springsteen creating "such a vivid sense of these characters" by "[giving] them voices a playwright would be proud of".[105]Cash Box anticipated Born in the U.S.A. would find success on album-oriented rock radio due to Springsteen's "special" ability to convey the lyrical messages of every song.[202]Saturday Review's John Swenson commended Springsteen for "championing traditional rock values at a time when few newer bands show interest in such a direction",[197] while Robert Christgau of The Village Voice praised his evolution as an artist.[194] In The New York Times, Stephen Holden highlighted Springsteen as "one of a very small number of rock performers who uses rock to express an ongoing epic vision of [America], individual social roots and the possibility of heroic self-creation."[95] Others praised the instrumentation, Springsteen's vocal performances,[203] and the performances of the E Street Band.[134][196][203]
Not all reviews were positive. Several reviewers criticized the use of similar lyrical themes as prior albums;[134][198][203][204] Richard Harrington of The Washington Post wrote: "The problem is that Springsteen's taken us down these mean sidestreets and through these badlands all too often since 1978's Darkness on the Edge of Town."[204] Robertson took less issue with the similar themes, arguing that Springsteen was "polishing and perfecting his craft", making Born in the U.S.A. his best work yet.[199] Other critics, such as Harrington and NME'sCharles Shaar Murray, were more negative, calling the music "deadly dull" and "dry", respectively.[108][204] Harrington said that "Springsteen has become a brooding, boorish visionary, with no respite of working class advocacy or the resilient spirit of youth,"[204] while Carr argued: "By abandoning all that 'rebel triumphant' blabber'n smoke, Springsteen displays the kind of moral and artistic integrity that rock music rarely shows any more."[108] He summarized: "No-one's going to get high on fantasy or rebellion from listening to Born in the U.S.A."[108]
Born in the U.S.A. was voted the best album of the year in the 1984 Pazz & Jop critics poll.[110] Christgau, the poll's creator, also ranked it number one on his list and in 1990 named it the ninth-best album of the 1980s.[205][206]NME, in their end-of-the-year list, placed it at number two, behind Bobby Womack's The Poet II.[207] In Rolling Stone, Springsteen and the E Street Band won artist and band of the year, album of the year for Born in the U.S.A., and single and music video of the year for "Dancing in the Dark".[208] At the 27th Annual Grammy Awards in 1985, Born in the U.S.A. was nominated for the Grammy Award for Album of the Year, while "Dancing in the Dark" was nominated for Record of the Year and won the award for Best Rock Vocal Performance, Male.[209] "Born in the U.S.A." was nominated for Record of the Year at the following year's ceremony.[210]
Springsteen and the E Street Band supported Born in the U.S.A. on the Born in the U.S.A. Tour, which ran 156 concerts from June 29, 1984, to October 2, 1985.[100] Rehearsals began in early May 1984. By that point, the E Street Band had not performed together in two and a half years.[211] The lineup included returning members Bittan, Clemons, Tallent, Federici, Weinberg;[147] Nils Lofgren, who replaced Van Zandt as a second guitarist;[211] and Patti Scialfa, who was hired by Springsteen as a backing vocalist four days before the tour began.[212][213] Springsteen reworked his image to be "highly masculinized" for the tour; he wore sleeveless shirts to show off his new muscular physique, was clean-shaven, and held his curly hair up with a bandana.[214]
The tour began in Saint Paul, Minnesota, where the video for "Dancing in the Dark" was filmed.[215] With over sixty unperformed songs in Springsteen's repertoire since the end of the River Tour, the shows consisted of material throughout Springsteen's whole career. "Born in the U.S.A." or "Thunder Road" (1975) often started the shows, after which the first set typically consisted of older material (including songs from Nebraska). The second set primarily included songs written after Nebraska's release, such as "Dancing in the Dark", "No Surrender", and "Bobby Jean".[216] Unlike previous tours, the setlists for the Born in the U.S.A. Tour typically remained the same every night, with few exceptions.[217]
Springsteen attracted political attention during the initial U.S. leg when the conservative political commentator George Will attended the show in Largo, Maryland, on August 25. Will published a column in The Washington Post about Springsteen the following month, wherein he praised the performer's work ethic and discussed his "presumed patriotism" with the usage of the phrase "born in the U.S.A."[218][219][220] Less than a week after the column's publishing, president Ronald Reagan, in the middle of his reelection campaign, praised Springsteen's "patriotism" during a campaign rally in Hammonton, New Jersey. Springsteen himself dismissively responded to Reagan's comments two days later during a show in Pittsburgh.[218][221] Springsteen was also compared to the Sylvester Stallone character John Rambo in an opinion piece by the Chicago Tribune's Paul Galloway, published in August 1985, who argued the two muscle-bounded figures positively represented America's strength.[222]
The initial American leg of the tour ran through January 1985.[208] During the break, Springsteen participated in the recording of the charity single "We Are the World" with other recording artists including Huey Lewis, Michael Jackson, and Lionel Richie.[151][223] The tour continued from late March to July around the world with shows in Australia, Japan, Europe, and the U.K.[208] Springsteen married his first wife Julianne Phillips in May,[224] between the Oceania and European legs.[225] The European leg drew large crowds, including a 100,000 attendance in Ireland and three sold-out shows at Wembley Stadium in London.[191] The final U.S. leg ran from August to October 2,[208] ending with four consecutive shows at the Los Angeles Memorial Coliseum.[226] The tour's massive success led to the creation of Springsteen's first live album, Live 1975–85, released in November 1986.[82][227]
Springsteen and the E Street Band performed the full Born in the U.S.A. album during a show at the Hard Rock Calling Festival in London at Queen Elizabeth Olympic Park on June 30, 2013. A DVD of the full performance, titled Born in the U.S.A. Live: London 2013, was packaged with Amazon pre-orders of Springsteen's 18th studio album High Hopes in January 2014.[228]
Legacy
Impact on Springsteen
Born in the U.S.A. made Springsteen a superstar[104][229] and brought him his largest amount of success to date as a recording and performing artist,[230] touching off a wave of what the author Chris Smith termed "Bossmania".[231] Although he had been a well-known star before its release, Larry Rodgers wrote in The Arizona Republic that "it was not until he hit the gym to get buffed up and showed off his rear end in [the] cover photo for Born in the U.S.A. that he became an American pop icon".[232] The author Bryan K. Garman suggested that this new image helped Springsteen popularize his persona on a new scale, while tying him to certain political and socio-cultural issues, at a time when Ronald Reagan was promoting prosperity and U.S. global influence "within a decidedly masculine framework".[233]Stereogum's Ryan Leas later called the album "one of the defining records of the '80s".[234]
Born In the U.S.A. changed my life, gave me my largest audience, forced me to think harder about the way I presented my music, and set me briefly at the center of the pop world.[107]
Despite Born in the U.S.A.'s commercial success, Springsteen was initially wary of his newfound fame and attention.[142] He later expressed reservations about the album, writing in his 2003 book Songs, "I put a lot of pressure on myself over a long period of time to reproduce the intensity of Nebraska on Born in the U.S.A. I never got it."[235] He further felt the title track "more or less stood by itself" and that "the rest of the album contains a group of songs about which I've always had some ambivalence".[30][235] Gabriel Fine argued that a "central" part of the album's legacy is the title track's misunderstood message and the "struggle" to make that message clear.[98] According to Kirkpatrick, the album's legacy is complicated for longtime fans due to its large success and Springsteen's public image of "muscular patriotism" that surrounded its release and accompanying tour.[230] The album also created a generational divide between older and newer fans.[236]
The album's success ultimately influenced Springsteen's career trajectory for the rest of the 1980s and 1990s. In response to his newfound fame, Springsteen attempted to scale himself back to be viewed as a "normal" middle-aged singer-songwriter.[237] He later described the Born in the U.S.A. Tour as representing the end of the first phase of his career, believing he created an "icon" image that was not true to himself.[238] For Tunnel of Love (1987), the follow-up to Born in the U.S.A., he recorded most of the parts himself using a synthesizer and wrote lyrics about love, romantic commitment, and married life.[239][240][241] He used the E Street Band sparingly on the album before disbanding the group in 1989.[239][242] In the 1990s, Springsteen ignored dominant music trends, such as grunge and alternative rock,[243] as he created the music he wanted to make despite being aware of the potential commercial shortcomings.[238] His albums during this period, Human Touch, Lucky Town (both 1992), and The Ghost of Tom Joad (1995), suffered commercially as a result.[n] The author Steven Hyden argues that it was not until his and the E Street Band's Reunion Tour from 1999 to 2000, and the accompanying Live in New York City film and live album, that Springsteen re-established himself as a cultural icon.[246] The following album, The Rising (2002), was his first full-length album with the E Street Band since Born in the U.S.A. and his first to top the Billboard 200 since Tunnel of Love.[247][248]
In later decades, Born in the U.S.A. has generally been regarded as one of Springsteen's best records.[o] Himes argued that "as a total package", Born in the U.S.A. is Springsteen's best album.[106] Sodomsky called it "the bold, brilliant, and misunderstood apex of Bruce Springsteen's imperial era".[51] Hyden describes Born in the U.S.A. as Springsteen's most iconic album in the pop-culture zeitgeist and the one that defines his persona "in the broadest sense".[263] The music journalist Matty Karas regarded it as "a quintessential pop album that was also a perfect distillation of the anger and bitterness seething beneath the surface of Reagan-era America."[99]Neil McCormick of The Daily Telegraph stated: "Born in the U.S.A. remains the most tightly honed of Springsteen's albums," one that unifies the "two disparate strands of The River" and "comes up with something that manages to be both angry and celebratory, often in the same song".[101]
The album still attracts mixed assessments. While one critic felt the album aged well into the 2000s,[116] others have felt that its production dates it to the 1980s,[230][264] but maintained that it added "historical value" and that the quality of the songs made up for it.[229][259] Writing in The Encyclopedia of Popular Music, Colin Larkin described Born in the U.S.A. as an example of an artist's best-selling work not being their best creative or artistic work.[265] More negatively, Q magazine's journalist Richard Williams criticized Springsteen's exaggeration of his usual characters and themes in a deliberate attempt at commercial success. He accused the singer of trying to "exploit the American flag" and "to bury the anti-war message of Born in the U.S.A. beneath an impenetrable layer of clenched-fist bombast", which he felt was "downright irresponsible".[257]
Born in the U.S.A. was first reissued by Columbia on CD in 2000,[275] followed by an LP and CD reissue by Sony BMG in 2007 and 2008, respectively.[275] In 2015, Sony Music released a remastered version of the album on both LP and CD.[276][277] On June 14, 2024, Sony Music reissued the album again on translucent red vinyl, featuring a booklet with new sleeve notes by Springsteen's archivist Erik Flannigan and a lithograph to mark its 40th anniversary.[278][279]
* Sales figures based on certification alone. ^ Shipments figures based on certification alone. ‡ Sales+streaming figures based on certification alone.
↑ Other songs included "Baby I'm So Cold", "Jesse James and Robert Ford", "Fade to Black", "True Love is Hard to Come By", "Your Love is All Around Me", "William Davis", "A Gun In Every Home", and "On the Prowl",[32]
↑ According to Margotin and Guesdon, the January recording was the take used for the final album,[19] while Clinton Heylin states that Springsteen used one of the nine takes recorded on May 12.[34]
↑ The tentative tracklist for the E Street album, dated June 1982, was as follows: Side one: "Born in the U.S.A.", "Murder Incorporated", "Downbound Train", "Down Down Down" (an early title of "I'm Goin' Down"), "Glory Days", "My Love Will Not Let You Down" Side two: "Working on the Highway", "Darlington County", "Frankie", "I'm on Fire", "This Hard Land"[40][41]
↑ This tracklist, dated July 1983, was as follows: Side one: "Born in the U.S.A.", "Cynthia", "None But the Brave", "Drop on Down and Cover Me" (a new version of "Cover Me"), "Shut Out the Light", "Johnny Bye-Bye" Side two: "Sugarland", "My Love Will Not Let You Down", "Follow That Dream", "My Hometown", "Glory Days", "Janey, Don't You Lose Heart"[69][70]
↑ Springsteen's first actual music video, for Nebraska's "Atlantic City", did not feature Springsteen himself, instead featuring black-and-white footage of Atlantic City life shot by Arnold Levine.[184]
↑ The video featured a recreation of the Born in the U.S.A. cover photo.[143]
↑ Human Touch and Lucky Town both sold well initially, peaking at number two and three, respectively, on the Billboard 200, but competition from other popular artists at the time led to both albums dropping off the charts quickly.[244]The Ghost of Tom Joad was Springsteen's first album since The Wild, the Innocent & the E Street Shuffle (1973) to miss the top five on the Billboard 200, reaching number 11.[245]
Bruce Frederick Joseph Springsteen is an American rock singer, songwriter, and guitarist. Nicknamed "the Boss", he has released 21 studio albums over six decades, most featuring the E Street Band, his backing band since 1972. Springsteen is a pioneer of heartland rock, combining commercially successful rock with poetic, socially conscious lyrics which reflect working class American life. He is known for his descriptive lyrics and energetic concerts, which sometimes last over four hours.
Nebraska is the sixth studio album by the American singer-songwriter Bruce Springsteen, released on September 30, 1982, by Columbia Records. Springsteen recorded the songs as solo demos using a four-track recorder in the bedroom of his home in Colts Neck, New Jersey, intending to rerecord them with the E Street Band, but decided to release them as they were after full-band renditions were deemed unsatisfactory. Seventeen songs appeared on the tape, ten of which appeared on Nebraska, while others appeared in full-band renditions on the follow-up album Born in the U.S.A. (1984) and as B-sides.
Darkness on the Edge of Town is the fourth studio album by the American singer-songwriter Bruce Springsteen, released on June 2, 1978, by Columbia Records. The album was recorded after a series of legal disputes between Springsteen and his former manager Mike Appel, during sessions in New York City with the E Street Band from June 1977 to March 1978. Springsteen and Jon Landau served as producers, with assistance from bandmate Steven Van Zandt.
Born to Run is the third studio album by the American singer-songwriter Bruce Springsteen, released on August 25, 1975, by Columbia Records. Co-produced by Springsteen with his manager Mike Appel and the producer Jon Landau, its recording took place in New York. The album marked Springsteen's effort to break into the mainstream following the commercial failures of his first two albums. Springsteen sought to emulate Phil Spector's Wall of Sound production, leading to prolonged sessions with the E Street Band lasting from January 1974 to July 1975; six months alone were spent working on the title track.
The River is the fifth studio album by the American singer-songwriter Bruce Springsteen, released as a double album on October 17, 1980, by Columbia Records. The album was Springsteen's attempt at making a record that captured the E Street Band's live sound. Co-produced by Springsteen, his manager Jon Landau, and bandmate Steven Van Zandt, the recording sessions lasted 18 months in New York City from March 1979 to August 1980. Springsteen originally planned to release a single LP, The Ties That Bind, in late 1979, before deciding it did not fit his vision and scrapped it. Over 50 songs were recorded; outtakes saw release as B-sides and later on compilation albums.
"No Surrender" is a song from Bruce Springsteen's album Born in the U.S.A.. It was only included on the album at the insistence of Steven Van Zandt, but has since become a concert staple for Springsteen. Though it was not one of the seven top ten hits of the album, "No Surrender" nevertheless charted on the Mainstream Rock chart, peaking at No. 29. It returned to prominence during the 2004 United States presidential election when John Kerry, the Democratic candidate and a fan of Springsteen, used the song as the main theme song for his campaign.
"Dancing in the Dark" is a song written and performed by American rock singer Bruce Springsteen. It was the first single released ahead from his 1984 album, Born in the U.S.A., and became his biggest hit, helping the album become the best-selling album of his career.
"My Hometown" is a single by Bruce Springsteen from his Born in the U.S.A. album as its closing track, that was the then-record-tying seventh and last top 10 single to come from it, peaking at #7 on the Cash Box Top 100 and #6 on the Billboard Hot 100 singles chart. It also topped the U.S. adult contemporary chart, making the song Springsteen's only #1 song on this chart to date. The song is a synthesizer-based, low-tempo number that features Springsteen on vocals.
"Cover Me" is a song written and performed by American rock singer Bruce Springsteen. It was the second single released from his 1984 album Born in the U.S.A.. Springsteen wrote the song for Donna Summer. However, his manager, Jon Landau, decided the song had hit potential, and so he kept it for the upcoming Springsteen album. It has been certified Gold in the US.
"I'm Goin' Down" is a rock song written and performed by American singer-songwriter Bruce Springsteen. It was released on August 27, 1985 by Columbia Records as the sixth single from his 1984 album Born in the U.S.A. The song was recorded with the E Street Band in May 1982 at Power Station studio in New York City, and co-produced by Springsteen, Jon Landau, Chuck Plotkin, and Steve Van Zandt. Although Springsteen had changing ideas about the songs to put on the album, "I'm Goin' Down" was ultimately selected for inclusion.
"Downbound Train" is a song that appears on the 1984 Bruce Springsteen album Born in the U.S.A. The song is a lament to a lost spouse, and takes on a melancholy tone. Author Christopher Sandford described the song as beginning "like a Keith Richards' riff" that ultimately moves to "one of those great country busted-heart lines, 'Now I work down at the car wash/where all it ever does is rain.'"
"Working on the Highway" is a 1984 song written and performed by Bruce Springsteen. It was released on the album Born in the U.S.A. and has remained a popular concert song for Springsteen and the E Street Band.
"Bobby Jean" is a song written and performed by Bruce Springsteen, from his 1984 album Born in the U.S.A. Although not released as a single, it reached number 36 on the Billboard Mainstream Rock Tracks chart.
"The Ties That Bind" is a song written and performed by Bruce Springsteen. It is the opening song on his fifth album, The River. It was the second song recorded for 'The River', at The Power Station in New York on April 9–11, 1979. The recording engineer was Bob Clearmountain. After Springsteen injured himself driving an ATV, forcing a one-month halt, Neil Dorfsman became the chief engineer when sessions resumed. Springsteen wrote the song during September - October 1978, while on the road during the Darkness Tour. After introducing it on November 1, 1978, it was played every night during the final two months of the tour.
"The River" is a song written and recorded by Bruce Springsteen, accompanied by the E Street Band, in 1979. The title track of his fifth album, it was a hit single in parts of Europe in 1981; reaching No.24 in Ireland, No. 25 in the Netherlands, and the top 10 in both Sweden and Norway. Its B-side was either "Independence Day" or "Ramrod", depending on the country of release.
"Be True" is a song by Bruce Springsteen. It was recorded on July 18, 1979 at The Power Station in New York in one of the early recording sessions for Bruce Springsteen's album The River. It was not released on the album, but in 1981 it was released as the B-side to the single release of "Fade Away", a song taken from The River album. According to Springsteen, "Be True" was left off The River album in favor of the song "Crush on You", a decision he has a hard time understanding in retrospect. Springsteen was already second guessing his decision to exclude "Be True" from The River before the album was even released.
"Wreck on the Highway" is a song written and performed by Bruce Springsteen. It was originally released as the final track on his fifth album, The River. The version released on The River was recorded at The Power Station in New York in March–April 1980. As well as being the last track on The River, it was the last song recorded for the album.
"Out in the Street" is a song written and performed by Bruce Springsteen from the 1980 album The River. It was recorded at The Power Station in New York between March and May 1980, as one of the last songs recorded for the album. Originally, Springsteen was going to keep the song off the album because it was so idealistic.
"Spirit in the Night" is a song written and originally recorded by American singer-songwriter Bruce Springsteen for his debut album Greetings from Asbury Park, N.J. (1973). It was also the second single released from the album. A cover version performed by Manfred Mann's Earth Band using the title "Spirits in the Night" was released on the album Nightingales and Bombers and as a Top 40 single.
↑ Horowitz, Is (October 6, 1984). "First Domestic CD Plant Opens"(PDF). Billboard. p.6. Archived(PDF) from the original on April 11, 2024. Retrieved March 21, 2024– via worldradiohistory.com.
↑ "Top 200 Albums". Billboard. June 23, 1984. Archived from the original on February 19, 2018. Retrieved October 22, 2017.
↑ "Top 200 Albums". Billboard. July 7, 1984. Archived from the original on February 19, 2018. Retrieved October 22, 2017.
1 2 "Classifiche". Musica e dischi (in Italian). Archived from the original on December 1, 2016. Retrieved May 31, 2022. Set "Tipo" on "Album". Then, in the "Titolo" field, search "Born in the U.S.A.".
1 2 3 Salaverri, Fernando (September 2005). Sólo éxitos: año a año, 1959–2002 (1sted.). Spain: Fundación Autor-SGAE. ISBN84-8048-639-2.
↑ Christgau, Robert (February 18, 1985). "Pazz & Jop 1984: Dean's List". The Village Voice. New York. Archived from the original on August 15, 2013. Retrieved July 8, 2013.
↑ Christgau, Robert (January 2, 1990). "Decade Personal Best: '80s". The Village Voice. Archived from the original on August 15, 2013. Retrieved May 10, 2015.
Heylin, Clinton (2013). E Street Shuffle: The Glory Days of Bruce Springsteen and the E Street Band (First Americaned.). New York City: Viking Press. ISBN978-0-670-02662-3.
This page is based on this Wikipedia article Text is available under the CC BY-SA 4.0 license; additional terms may apply. Images, videos and audio are available under their respective licenses.
