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We Shall Overcome: The Seeger Sessions - DELUXE EDITION
Released: Aug 22, 2006
Label: N\A

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How It Happened
Released: Aug 8, 2006
Label: N\A

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The Classic Interviews
Released: Aug 8, 2006
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We Shall Overcome: The Seeger Sessions - LP
Released: May 23, 2006
Label: N\A

{^We Shall Overcome: The Seeger Sessions} is an unusual {$Bruce Springsteen} album in a number of ways. First, it's the first covers album {$Springsteen} has recorded in his three-decade career,... Continue[+]

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{^We Shall Overcome: The Seeger Sessions} is an unusual {$Bruce Springsteen} album in a number of ways. First, it's the first covers album {$Springsteen} has recorded in his three-decade career, which is a noteworthy event in itself, but that's not the only thing different about {^We Shall Overcome}. {$Springsteen}, a notorious perfectionist who has been known to tweak and rework albums numerous times before releasing them (or scrapping them, as the case may be), pulled together the album quickly, putting aside a planned second volume of the rarities collection {^Tracks} after discovering a set of recordings he made in 1997 for a {$Pete Seeger} tribute album called {^Where Have All the Flowers Gone: The Songs of Pete Seeger}. Enthralled by this handful of tracks -- one of which, {&"We Shall Overcome,"} appeared on the tribute -- {$Springsteen} decided to cut a whole album of {\folk} tunes popularized by {$Pete Seeger}. He rounded up 13 musicians, including some who played on those 1997 sessions, and did two one-day sessions in late 2005 and early 2006, swiftly releasing the resulting album that April. As {$Bruce} stresses in his introductory liner notes, these were live recordings, done with no rehearsals, and {^We Shall Overcome} does indeed have an unmistakably loose feel, and not just because you can hear the Boss call out chord changes in a handful of songs. This music is rowdy and rambling, as the group barrels head-first into songs that they're playing together as a band for the first time, and it's hard not to get swept up along in their excitement. {$Springsteen} has made plenty of great records, but {^We Shall Overcome} is unique in its sheer kinetic energy; he has never made a record that feels as alive as this. 
Not only does {^We Shall Overcome} feel different than {$Bruce}'s work; it also feels different than {$Seeger}'s music. Most of {$Seeger}'s recordings were spare and simple, featuring just him and his banjo; his most elaborately produced records were with {$the Weavers}, whose recordings of the '50s did feature orchestration, yet that's a far cry from the big {\folk} band that {$Springsteen} uses here. {$Bruce}'s combo for the {$Seeger} sessions has a careening, ramshackle feel that's equal parts early-'60s hootenanny and {$Bob Dylan} and {$the Band}'s {\Americana}; at times, its ragged human qualities also recall latter-day {$Tom Waits}, although the music here is nowhere near as self-consciously arty as that. {$Springsteen} has truly used {$Seeger}'s music as inspiration, using it as the starting point to take him someplace that is uniquely his own in sheer musical terms. Given that, it should be no great surprise that {$Bruce} also picks through {$Seeger}'s songbook in a similar fashion, leaving many (if not most) of {$Pete}'s well-known songs behind in favor of a selection of {\folk} {\standards} {$Springsteen} learned through {$Seeger}'s recordings. (Author/critic {$Dave Marsh} researched the origins of each song here; there are brief introductions within the album's liner notes and thorough histories presented on the official {$Springsteen} site.) While the songs featured here adhere to no one specific theme -- there are {\work songs}, {\spirituals}, narratives, and protest songs -- it is possible to see this collection of tunes as {$Springsteen}'s subtle commentary on the political state of America, especially given {$Seeger}'s reputation as an outspoken political activist, but this record should hardly be judged as merely an old-fashioned {\folk} record. {^We Shall Overcome} is many things, but a creaky relic is not one of them. {$Springsteen} has drawn from {$Seeger}'s songbook -- which he assembled in the '40s, '50s, and '60s from {\traditional folk} songs -- and turned it into something fresh and contemporary. And even if you have no patience for (or interest in) the history of the songs, or their possible meanings, it's easy to enjoy {^We Shall Overcome} on pure musical terms: it's a rambunctious, freewheeling, positively joyous record unlike any other in {$Springsteen}'s admittedly rich catalog.
[{^We Shall Overcome: The Seeger Sessions} was released in the U.S. as a DualDisc, containing a CD on one side and a DVD on the other. The CD side merely contains the album. The DVD contains the album in PCM stereo (there's no 5.1 mix, although given the {\big-band} nature of this session, this album would have sounded great in Surround Sound), along with two bonus tracks, the rollicking {&"Buffalo Gals"} and the moody, soulful {&"How Can I Keep from Singing."} Both bonus cuts are excellent and should have been on the album proper. There is also a 30-minute video program that chronicles some of the recording of the album, but it's not a documentary: it's more of a performance film with commentary, and while it could have been longer or had more commentary, it's still quite enjoyable. Finally, {^We Shall Overcome} also was released separately as a vinyl LP.] ~ Stephen Thomas Erlewine, All Music Guide

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We Shall Overcome: The Seeger Sessions
Released: Apr 25, 2006
Label: N\A

{^We Shall Overcome: The Seeger Sessions} is an unusual {$Bruce Springsteen} album in a number of ways. First, it's the first covers album {$Springsteen} has recorded in his three-decade career,... Continue[+]

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{^We Shall Overcome: The Seeger Sessions} is an unusual {$Bruce Springsteen} album in a number of ways. First, it's the first covers album {$Springsteen} has recorded in his three-decade career, which is a noteworthy event in itself, but that's not the only thing different about {^We Shall Overcome}. {$Springsteen}, a notorious perfectionist who has been known to tweak and rework albums numerous times before releasing them (or scrapping them, as the case may be), pulled together the album quickly, putting aside a planned second volume of the rarities collection {^Tracks} after discovering a set of recordings he made in 1997 for a {$Pete Seeger} tribute album called {^Where Have All the Flowers Gone: The Songs of Pete Seeger}. Enthralled by this handful of tracks -- one of which, {&"We Shall Overcome,"} appeared on the tribute -- {$Springsteen} decided to cut a whole album of {\folk} tunes popularized by {$Pete Seeger}. He rounded up 13 musicians, including some who played on those 1997 sessions, and did two one-day sessions in late 2005 and early 2006, swiftly releasing the resulting album that April. As {$Bruce} stresses in his introductory liner notes, these were live recordings, done with no rehearsals, and {^We Shall Overcome} does indeed have an unmistakably loose feel, and not just because you can hear the Boss call out chord changes in a handful of songs. This music is rowdy and rambling, as the group barrels head-first into songs that they're playing together as a band for the first time, and it's hard not to get swept up along in their excitement. {$Springsteen} has made plenty of great records, but {^We Shall Overcome} is unique in its sheer kinetic energy; he has never made a record that feels as alive as this. 
Not only does {^We Shall Overcome} feel different than {$Bruce}'s work; it also feels different than {$Seeger}'s music. Most of {$Seeger}'s recordings were spare and simple, featuring just him and his banjo; his most elaborately produced records were with {$the Weavers}, whose recordings of the '50s did feature orchestration, yet that's a far cry from the big {\folk} band that {$Springsteen} uses here. {$Bruce}'s combo for the {$Seeger} sessions has a careening, ramshackle feel that's equal parts early-'60s hootenanny and {$Bob Dylan} and {$the Band}'s {\Americana}; at times, its ragged human qualities also recall latter-day {$Tom Waits}, although the music here is nowhere near as self-consciously arty as that. {$Springsteen} has truly used {$Seeger}'s music as inspiration, using it as the starting point to take him someplace that is uniquely his own in sheer musical terms. Given that, it should be no great surprise that {$Bruce} also picks through {$Seeger}'s songbook in a similar fashion, leaving many (if not most) of {$Pete}'s well-known songs behind in favor of a selection of {\folk} {\standards} {$Springsteen} learned through {$Seeger}'s recordings. (Author/critic {$Dave Marsh} researched the origins of each song here; there are brief introductions within the album's liner notes and thorough histories presented on the official {$Springsteen} site.) While the songs featured here adhere to no one specific theme -- there are {\work songs}, {\spirituals}, narratives, and protest songs -- it is possible to see this collection of tunes as {$Springsteen}'s subtle commentary on the political state of America, especially given {$Seeger}'s reputation as an outspoken political activist, but this record should hardly be judged as merely an old-fashioned {\folk} record. {^We Shall Overcome} is many things, but a creaky relic is not one of them. {$Springsteen} has drawn from {$Seeger}'s songbook -- which he assembled in the '40s, '50s, and '60s from {\traditional folk} songs -- and turned it into something fresh and contemporary. And even if you have no patience for (or interest in) the history of the songs, or their possible meanings, it's easy to enjoy {^We Shall Overcome} on pure musical terms: it's a rambunctious, freewheeling, positively joyous record unlike any other in {$Springsteen}'s admittedly rich catalog.
[{^We Shall Overcome: The Seeger Sessions} was released in the U.S. as a DualDisc, containing a CD on one side and a DVD on the other. The CD side merely contains the album. The DVD contains the album in PCM stereo (there's no 5.1 mix, although given the {\big-band} nature of this session, this album would have sounded great in Surround Sound), along with two bonus tracks, the rollicking {&"Buffalo Gals"} and the moody, soulful {&"How Can I Keep from Singing."} Both bonus cuts are excellent and should have been on the album proper. There is also a 30-minute video program that chronicles some of the recording of the album, but it's not a documentary: it's more of a performance film with commentary, and while it could have been longer or had more commentary, it's still quite enjoyable. Finally, {^We Shall Overcome} also was released separately as a vinyl LP.] ~ Stephen Thomas Erlewine, All Music Guide

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Hammersmith Odeon, London '75
Released: Feb 28, 2006
Label: N\A

{^Hammersmith Odeon, London '75} is the disc for those fans who didn't want to pony up the big money for the 30th anniversary edition of {^Born to Run} and its two DVDs. This is the soundtrack for... Continue[+]

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{^Hammersmith Odeon, London '75} is the disc for those fans who didn't want to pony up the big money for the 30th anniversary edition of {^Born to Run} and its two DVDs. This is the soundtrack for one of them, the {~Hammersmith Odeon} concert, from beginning to end captured in vibrant sound. This show has been revered by tape traders and bootleggers for decades and never has it been presented better, thanks to {$Bob Clearmountain}'s fantastic mix. What makes this show so historically important is that it was the first time the band was able to travel overseas to play. (They were barred from doing so in the United States because of a legal battle with {$Springsteen}'s former manager.) In any case, well in advance of the gig the notorious British music weeklies began to create a pick-and-pan hype to build and topple a potential new {\rock} messiah as they did all the time. Or, as {$Springsteen} in his liner notes writes, "...this week's Next...Big...Thing." The band was terrified yet geeked to play the hallowed hall. These guys were scared; it fueled the gig, and they pulled it off in spades. They have everything to prove, and plenty to stare down. (Hell, the media hype almost made them the standard-bearers for the entire history of American {\rock}, whether they wanted to be or not -- and they may not have believed it themselves, but they played like they felt the responsibility for it, overtly referencing {$Sam Cooke}, {$Isaac Hayes}, and even {$Boyce & Hart} by including pieces of their tunes in {$Springsteen} originals, showing where it all came from. And then, by using a portion of {\Celtic} soulman {$Van Morrison}'s {&"Moondance"} -- who was taking his own bit from {$David "Fathead" Newman}'s read of his former boss {$Ray Charles} -- in {&"Kitty's Back,"} they reveal clearly that {$the Beatles}, {$the Stones}, and {$the Who} were nowhere to be found on this night.) Most of all, {$the E Street Band} had the quivering guts and na�vet� to pull it off. These guys play their asses off; it's as if tomorrow they'll die, so what the hell. The tape proves this show to be adrenaline-filled and fear-drenched. This is a mind-blowing gig. It was filmed for preservation and forgotten about until being resurrected by {$Springsteen}. 
The highlights? Hell, everything here. It begins with a tenderly desperate, under-orchestrated {&"Thunder Road,"} sprints head on into a burning {&"Tenth Avenue Freeze Out"} before whispering into a {\free jazz} intro to a dramatic, swaggering {&"Spirit in the Night"} that oozes street-smart Jersey soul. And the train never stops; it only slows a bit for moments at a time. And it's not for the band to catch its breath; it's for the crowd, whether it's the frighteningly intense {&"Lost in the Flood,"} the shuffling {\country} {\roots rock} that introduces the rollicking {&"She's the One,"} or the swaggering anthem of {&"Born to Run,"} which only take listeners through a little over half of the first disc! They had the audience after {&"Spirit,"} but they were into something deeper, wilder -- check the spit and vinegar in {&"It's Hard to Be a Saint in the City"} -- so they kept pushing harder. This was a young band that musically was as good as anybody on that night. They were rehearsed, confident, and armed with a collection of songs that virtually any musician worth his or her salt would kill to have written even one of. Disc two offers no letdown. There's arguably the single most intense read of {&"Jungleland"} on tape, and a riotously joyful version of {&"Rosalita"} to counter the theater of darkness just visited upon the crowd in the previous song. This version of {&"Fourth of July, Asbury Park (Sandy)"} is pure street urchin romance taken to the nth level. {$The E Streeters}' read of the {&"Detroit Medley"} is an homage to {$Mitch Ryder & the Detroit Wheels}, whose scorching takes on {$Little Richard}'s {&"Jenny Take a Ride,"} {&"Devil with a Blue Dress,"} and {&"Good Golly Miss Molly"} offer spiritual inspiration. They stay on full stun with {&"For You"} and cap it all with {&"Quarter to Three,"} leaving the crowd to fall back into the night, wondering if they could believe what they'd just witnessed. {$Springsteen} himself says the night was a blur to him and he never looked back for 30 years at the film or even listened to the show. While the soundtrack is only half the experience of the {~Hammersmith Odeon} 1975 document, it's a worthy half and a necessary set to add to any {$Springsteen} live shelf. ~ Thom Jurek, All Music Guide

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Born to Run - 30TH ANNIVERSARY EDITION
Released: Nov 15, 2005
Label: N\A

There is such a strange feeling to be writing this, listening intently to the remastered version of {$Bruce Springsteen}'s breakthrough 1975 recording {^Born to Run}, as if it hadn't happened at... Continue[+]

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There is such a strange feeling to be writing this, listening intently to the remastered version of {$Bruce Springsteen}'s breakthrough 1975 recording {^Born to Run}, as if it hadn't happened at all but was happening in this moment. To look back at {\pop} history as something of an oracle through the glass on its reverse side is always tricky. There was a lot at stake in {\rock & roll} in those days. {$David Bowie} was about to move into his next incarnation after the death of {%Ziggy Stardust} and into his Berlin period; {$Queen} was moving away from {\hard rock} and into its own identity as well; {$Roxy Music} was about to crack it; the {$J. Geils Band} was shattering houses everywhere with its brand of roots {\blues} and barroom {\rock}; {$T. Rex} was almost absent on American shores, and {$Kiss} had stepped in mightily and faultily to cash in on it all. Meanwhile, the {$Faces} were history, and the {$New York Dolls} were disintegrating; {$Aerosmith} were fighting each other, {$Led Zep} were the power and glory of {\hard rock}; {$Iggy} was lost to addiction; {$Marvin Gaye} and {@Motown} were turning into something else, as was the {\Philly soul} sound, mutating into the next phase of {\funk}, and eventually {\disco}. {$P-Funk} were tearing it up musically and on the road, but not to many white audiences; {$Marvin Gaye} was working on {^I Want You}; {$Leroy Hutson} was releasing the best albums of his career but to little notice of {\rock} audiences; {$Miles} was in retirement, and only {$Grover Washington} was carrying the {\soul-jazz} banner into the future with {^Mister Magic} and {^Feels So Good}. {$The Rolling Stones} were doing their thing, but they were {$the Rolling Stones}. And then the dread {$Yes} and {$Jethro Tull} and {$Emerson, Lake & Palmer} were ruining {\rock} for another five years. The time was right for something to happen, and happen it did. {$Springsteen} and his {$E Street Band}, armed with a slew of session players, came ambling out of the New Jersey shadows, having no idea what they were doing with a brand of guttersnipe, gritty {\rock} infused with {\soul}, {\R&B}, {\garage} band aesthetics, and a stage show that challenged even {$Mott the Hoople}'s, to conquer the world whether they wanted to or not. 
In its present incarnation, finally remastered to full satisfaction of fans in the post-LP era, {^Born to Run} sounds as startling, dynamic, and desperate as it did in 1975. The songs roar once more with all the drama of the young, where everything is at stake. Back porches, ramshackle motorcycles, the hidden intimacy of back streets, the violent danger of street gangs vying for turf, and the story of their life and death struggles told and retold with apocryphal detail from a group of observers to those who would retell and embellish them. There's the boredom of summer days and working nine to five just to break out into who knows what, and that desire -- the one that covers everything -- the one that  knows that just beyond the confines of front yards and downtowns lies America, and some dream that would materialize if only one had the courage to run toward it. {$Springsteen}'s voice is full, raging, howling, crooning, and above all simply full of the magic of his own words as given life by a band who knows nothing except for putting it all on the line. In its present incarnation {^Born to Run} once again proves its place among the greatest {\rock & roll} albums ever recorded. This is it -- life, death, love, betrayal, and the dynamics of big-screen portrayals of the mysteries of everyday --  ordinary life boiled down to an explosive essence that carries within it everything {\rock & roll} ever promised.
The bonus DVDs are something to behold as well. The {~Hammersmith Odeon} concert from the tour that's included here has a set list to die for. It's adrenaline-filled and fear-drenched. These guys were scared and it fueled the gig. There's everything to prove, and the {$E Street Band} had the quavering guts and na�vet� to pull it off. These guys play their asses off; it's as if tomorrow they'll die so what the hell -- and given that the bile Brit music tabloids had the proven potential for, it was entirely possible, as {$Springsteen} explains in his liner notes. The track list is simply incredible, from the cuts to the album at hand to those coming from {^Greetings from Asbury Park} -- {&"Lost in the Flood,"} {&"Hard to Be a Saint in the City,"} {&"For You,"} -- to those from {^The Wild, the Innocent and the E Street Shuffle} -- {&"Fourth of July Asbury Park (Sandy),"} {&"Kitty's Back,"} {&"Rosalita."} And as if this weren't enough, there is the classic {&"Detroit Medley"} and {&"Quarter to Three."} This is a mind-blowing gig, filmed for preservation and forgotten about, until it was recently resurrected from {$Springsteen}'s own archives and mixed for this presentation by {$Bob Clearmountain}.
As if all this weren't enough, there is another disc , {^Wings for Wheels}, a kind of hodgepodge documentary on the making of the album with rare film footage from between 1973 and '75, concert footage, and the intimacy of the studio as this band struggled to keep their deal with the label -- they were on the verge of being booted into eternal obscurity as has-beens who couldn't deliver the big one. The fascination as {$Springsteen} edits and works with {$Jon Landau} to build the crazy, roaring Wall of Sound that became the single {&"Born to Run"} is almost harrowing to watch -- not just as history, bus as a gamble that paid off. This is as close to a fan's dream come true as it's going to get. But more than that, the package is the one that proves the reason for {$Springsteen}'s longevity. His faith and doubt, his willingness to go the distance, and his belief in the music itself as the conveyor of something bigger than himself to get the poetry across is awe-inspiring. Presented in this way, {^Born to Run} is enough to make one accept that {\rock & roll} is a force to be reckoned with rather than something to market cars, beer, and lingerie; it contains the mythic power of the ages, and dare it be said the proof that God himself can speak through a sleazy looking, beat, flesh and blood batch of street urchins using the ordinary as a means of speaking of the power, vulnerability, romance, and redemption of everyday life as something to be celebrated, struggled through, and cherished. ~ Thom Jurek, All Music Guide

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VH1 Storytellers
Released: Sep 6, 2005
Label: N\A

When the {$Bruce Springsteen} episode of the {@VH1} series {#Storytellers} first ran on the cable network on April 23, 2005, it was a one-hour show, which meant that, minus commercials, the elapsed... Continue[+]

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When the {$Bruce Springsteen} episode of the {@VH1} series {#Storytellers} first ran on the cable network on April 23, 2005, it was a one-hour show, which meant that, minus commercials, the elapsed time couldn't have been much more than 45 minutes, if that. This DVD version runs about 99 minutes, plus a 15-minute question-and-answer session, so it expands the program considerably. {$Springsteen}, appearing alone on-stage at {~the Two River Theater} in Red Bank, NJ, on April 4, 2005 (except for a duet with his wife, {$Patti Scialfa}, on {&"Beautiful Disguise"}) takes the "storytellers" concept of explaining the sources of his songs seriously, although he peppers his remarks with self-deprecating humor, much of it directed at his good-guy image. He picks eight songs from his repertoire as examples of different kinds of writing (e.g., narrative, {&"Nebraska"}; {\pop}, {&"Waitin' on a Sunny Day"}), performing each one to his own acoustic guitar or piano accompaniment, and then goes back over them, often line by line, to discuss the inspirations and meanings of his lyrics. (Relatively short shrift is given to music, and at one point he refers to the "stupid" question about which comes first in songwriting, the music or the words, by saying that, at least in the case of {&"Blinded by the Light,"} the words did.) On TV, some of those complete musical performances were left out in favor of the discussions, so this version, in addition to including more songs overall, is more satisfying. {$Springsteen} begins by questioning the premise of the show, saying, "Talking about music is like talking about sex. Can you do it? Are you supposed to?" But then, he tries his best. He dissects {&"Devils & Dust"} in great detail (though without specific reference to the Iraq War, which is what most people would presume it is about, just as he never mentions 9/11 during his discussion of {&"The Rising"}). Then, he says, "How much of this was I thinking about when I wrote the song? None of it. How much of it was I feeling when I wrote the song? All of it. That's how they get written." He is at his most amusing in talking about the wordy {&"Blinded by the Light"} (written with a rhyming dictionary close by), claiming that, while {$Manfred Mann's Earth Band} scored a number one hit with the song, they did so by changing a line in the chorus from "Cut loose like a deuce" to "cut loose like a douche." Actually, a listen to the song reveals that vocalist {$Chris Thompson} sang "Wrapped up like a deuce," but at least this demonstrates that {\rock} stars can mishear the words on a record just like anybody else. ~ William Ruhlmann, All Music Guide

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The Collection, Vol. 2: Nebraska/Lucky Town/In Concert
Released: Aug 30, 2005
Label: N\A

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The Collection, Vol. 2: Nebraska/Lucky Town/In Concert - LONGBOX
Released: Aug 30, 2005
Label: N\A

This second volume in the {$Bruce Springsteen} {^Collection} (wherein {@Sony} repackages three albums in one box) is rather troubling given its selections. There is the sublime {^Nebraska},... Continue[+]

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Bruce Springsteen

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