|1. Devils & Dust|
|2. All The Way Home|
|4. Long Time Comin'|
|5. Black Cowboys|
|6. Maria's Bed|
|7. Silver Palomino|
|8. Jesus Was an Only Son|
|10. The Hitter|
|11. All I'm Thinkin' About|
|12. Matamoras Banks|
Dual disc pressing. 2005 album from the singer, songwriter and Rock icon, his first studio album since the September 11th-themed, double-platinum certified The Rising (2002). Two of the album's songs, 'The Hitter' and 'Long Time Comin', were actually written and performed on The Ghost Of Tom Joad tour. On the DVD side of this Dual Disc is a special Devils & Dust film by noted photographer and filmmaker Danny Clinch, including rare, never-before-seen acoustic performances of 'Devils & Dust', 'Long Time Comin', 'Reno', 'All I'm Thinkin' About' and 'Matamoras Banks' plus Bruce's personal introductions to the tracks. Columbia.
The last time Bruce Springsteen ventured West for inspiration, the result was the desolate, Nebraska, and its tales of serial killers and used cars. On his first record in three years, Springsteen navigates barren deserts and Old West war fields for a dozen forlorn songs that co-star the artist and his acoustic guitar. Where he has always had a knack for carving out the hooks and melodies that make each journey memorable, this time around Springsteen relies on the lyrics to carry the tune, including desperate tales of tragedy, heartbreak, and lust with a Latino twist, like the boxer coming home ("The Hitter"), a distressing border crossing incident ("Matamoros Banks") and the Nevada hooker with good intentions ("Reno," which led to the warning sticker "Adult Imagery"). With no E Street Band in the mix, the album is decorated with horns and strings and Springsteens novel falsetto on two his best efforts, "Maria's Bed," where the narrator comes home to his woman after forty nights on the road, and the fast-picking "All I'm Thinkin' About," where he has more than Carolina on his mind. A decade from now this will be an underrated record in the Springsteen chronicles. --Scott Holter
The Wild, the Innocent, and the E Street Shuffle (1973)
After a folk-rockish debut album that bubbled with ideas and dense lyrical play, this is where Springsteen began to find his voice as a rocker and as a songwriter. The prisoner-of-love romanticism of "Rosalita" and "Incident on 57th Street" hinted at what was coming, and this early version of the E Street Band--jazzier and more spare than later versions, thanks largely to David Sancious's piano--sounds great, if a little ragged, these many years later.
Born to Run (1975) and Darkness on the Edge of Town (1978)
These two records, which belong on any compilation of the top 100 rock albums of all time, sketched the themes that he would spend his whole career chasing, and defined the expectations fans would bring to his records ever after. The first chords of "Born to Run" sounded like freedom itself the first time I heard them on the radio, and the album lived up to them. "Thunder Road" is still the greatest rock & roll love song anyone's ever written. The record sounded so big and impassioned and propulsive it was easy to miss the dread running underneath it. Darkness... put the dread front and center. There are more of his best songs here than anywhere else, even if the sound is muddy and leaden at times.
After The River (the best record that didn't make this list) and the ensuing tour answered his rock & roll prayers--he was a big star now, not just a perennial critics' favorite--Springsteen holed up in a rented house on the Jersey shore, where he wrote these songs and sang them into a four-track recorder in his living room. The tape was supposed to be a demo for the band, but after several false tries he concluded that the tape he'd been carrying around in his pocket was the record. Quiet and bleak, Nebraska nonetheless grabbed you by the collar and made you listen as surely as his rock & roll records ever had.
Tunnel of Love (1987)
The glare and hubbub surrounding the Born in the USA tour (the tour was great--the record itself overrated) made him pull back again, this time to write a cycle of songs about love and fear and self-doubt. After this, Springsteen's first marriage broke up, and he started a family with Patti Scialfa, disappearing for the better part of 10 years, notwithstanding the pair of not-bad, just-disappointing albums he released in 1992, Human Touch and Lucky Town.
The Ghost of Tom Joad (1995)
Some call it Nebraska II, but his second acoustic album was not a repeat of his first--the characters and settings had changed, and their circumstances were more expressly desperate, and social--though it did share the same interest in what happens to people whose isolation or marginal status renders them invisible.
The Rising (2002)
Everybody, including Springsteen, seemed to think it was a record about 9/11, but the subject was broader--death and loss as seen from more than halfway down life's road. Dave Marsh nailed it: "A middle-aged man confronts death and chooses life." Brendan O'Brien's production sounds great.