Free Hi-Res Music

Artist: Bruce Springsteen
Title: Born In The U.S.A.
Genre: Rock
Release Date: 1984/2014
Label: Columbia
Duration: 46:54
Quality: FLAC 96kHz/24bit
Source: HDTracks

Born in the U.S.A. was American rock musician Bruce Springsteen’s seventh studio album. It quickly became Springsteen’s biggest album and was the best selling album of 1985 in the United States. Born in the U.S.A. was extremely inspirational, the lyrics are viewed as a sign of hope for citizens working towards the American Dream.

The record produced seven top ten singles, including the title track, “Dancing in the Dark”, and “Cover Me”. Born in the U.S.A. hit number 1 in eleven countries and received numerous awards. The title track is self-described as one of his best songs. Reasonably regarded as the turning-point album in Bruce’s career.

Bruce Springsteen had become increasingly downcast as a songwriter during his recording career, and his pessimism bottomed out with Nebraska. But Born in the U.S.A., his popular triumph, which threw off seven Top Ten hits and became one of the best-selling albums of all time, trafficked in much the same struggle, albeit set to galloping rhythms and set off by chiming guitars. That the witless wonders of the Reagan regime attempted to co-opt the title track as an election-year campaign song wasn’t so surprising: the verses described the disenfranchisement of a lower-class Vietnam vet, and the chorus was intended to be angry, but it came off as anthemic. Then, too, Springsteen had softened his message with nostalgia and sentimentality, and those are always crowd-pleasers. “Glory Days” may have employed Springsteen’s trademark disaffection, yet it came across as a couch potato’s drunken lament. But more than anything else, Born in the U.S.A. marked the first time that Springsteen’s characters really seemed to relish the fight and to have something to fight for. They were not defeated (“No Surrender”), and they had friendship (“Bobby Jean”) and family (“My Hometown”) to defend. The restless hero of “Dancing in the Dark” even pledged himself in the face of futility, and for Springsteen, that was a step. The “romantic young boys” of his first two albums, chastened by “the working life” encountered on his third, fourth, and fifth albums and having faced the despair of his sixth, were still alive on this, his seventh, with their sense of humor and their determination intact. Born in the U.S.A. was their apotheosis, the place where they renewed their commitment and where Springsteen remembered that he was a rock & roll star, which is how a vastly increased public was happy to treat him.

Tracklist:
01 — Born in the U.S.A.
02 — Cover Me
03 — Darlington County
04 — Working on the Highway
05 — Downbound Train
06 — I’m on Fire
07 — No Surrender
08 — Bobby Jean
09 — I’m Goin’ Down
10 — Glory Days
11 — Dancing in the Dark
12 — My Hometown

Pesrsonal
Bruce Springsteen — lead vocals, lead guitar, acoustic guitar
Roy Bittan — piano, synthesizer, background vocals
Clarence Clemons — saxophone, percussion, background vocals
Danny Federici — organ, glockenspiel, piano
Garry Tallent — bass guitar, background vocals
Steven Van Zandt — acoustic guitar, mandolin, harmony vocals
Max Weinberg — drums, background vocals

Additional Personnel:
Richie “La Bamba” Rosenberg — background vocals
Ruth Davis — background vocals

Production:
Producers: Jon Landau, Chuck Plotkin, Bruce Springsteen and Steve Van Zandt
Recording engineers: Bill Scheniman, Toby Scott, John Davenport (assistant), Jeff Hendrickson (assistant), Bruce Lampcov (assistant), Billy Straus (assistant) and Zoe Yanakis (assistant)
Mixing engineer: Bob Clearmountain
Mastering engineer: Bob Lugwig

Note
This remastered version was remastered by acclaimed engineer Bob Ludwig, working directly with Springsteen and longtime engineer Toby Scott, newly transferred from the original analogue masters using the Plangent Process playback system.

Download:

https://file.al/nesjqxmc1pf8/hires.link_BruceSpringsteenBrnInTheU.S.A.19842014HDTracks2496.part1.rar.html
https://file.al/78w0kived001/hires.link_BruceSpringsteenBrnInTheU.S.A.19842014HDTracks2496.part2.rar.html

Artist: Bruce Springsteen
Title: Born To Run
Genre: Rock
Release Date: 1975/2014
Label: Columbia
Duration: 39:26
Quality: FLAC 96kHz/24bit
Source: HDTracks

Born to Run was Bruce Springsteen’s third studio album and his commercial breakthrough success. Released in 1975, the album featured two singles: “Born to Run” and “Tenth Avenue Freeze-Out”. The songs “Thunder Road” and “Jungleland” also became hits and are staples of Springsteen’s live show to this day. The album was almost universally praised by critics, and peaked at #3 on the Billboard 200 chart in 1975. It has been certified triple-platinum by the RIAA as of 1986, and Rolling Stone magazine ranked it at #18 on its list of the 500 Greatest Albums of All Time.

Bruce Springsteen’s make-or-break third album represented a sonic leap from his first two, which had been made for modest sums at a suburban studio; Born to Run was cut on a superstar budget, mostly at the Record Plant in New York. Springsteen’s backup band had changed, with his two virtuoso players, keyboardist David Sancious and drummer Vini Lopez, replaced by the professional but less flashy Roy Bittan and Max Weinberg. The result was a full, highly produced sound that contained elements of Phil Spector’s melodramatic work of the 1960s. Layers of guitar, layers of echo on the vocals, lots of keyboards, thunderous drums — Born to Run had a big sound, and Springsteen wrote big songs to match it. The overall theme of the album was similar to that of The E Street Shuffle; Springsteen was describing, and saying farewell to, a romanticized teenage street life. But where he had been affectionate, even humorous before, he was becoming increasingly bitter. If Springsteen had celebrated his dead-end kids on his first album and viewed them nostalgically on his second, on his third he seemed to despise their failure, perhaps because he was beginning to fear he was trapped himself. Nevertheless, he now felt removed, composing an updated West Side Story with spectacular music that owed more to Bernstein than to Berry. To call Born to Run overblown is to miss the point; Springsteen’s precise intention is to blow things up, both in the sense of expanding them to gargantuan size and of exploding them. If The Wild, the Innocent & the E Street Shuffle was an accidental miracle, Born to Run was an intentional masterpiece. It declared its own greatness with songs and a sound that lived up to Springsteen’s promise, and though some thought it took itself too seriously, many found that exalting.

Tracklist:
01 — Thunder Road
02 — Tenth Avenue Freeze-Out
03 — Night
04 — Backstreets
05 — Born To Run
06 — She’s The One
07 — Meeting Across The River
08 — Jungleland

Pesrsonal
The E Street Band:
Bruce Springsteen — lead vocals, lead and rhythm guitars, harmonica, percussion
Roy Bittan — piano, Fender Rhodes, organ, harpsichord, glockenspiel, background vocals on all tracks except “Born to Run”
Clarence Clemons — saxophones, tambourine, background vocals
Danny Federici — organ and glockenspiel on “Born to Run”
Garry W. Tallent — bass guitar
Max Weinberg — drums on all tracks except “Born to Run”
Ernest “Boom” Carter — drums on “Born to Run”
Suki Lahav — violin on “Jungleland”
David Sancious — piano, organ on “Born to Run”
Steven Van Zandt — background vocals on “Thunder Road”, horn arrangements

Additional musicians:
Wayne Andre — trombone
Mike Appel — background vocals
Michael Brecker — tenor saxophone
Randy Brecker — trumpet, flugelhorn
Richard Davis — double bass on “Meeting Across The River”
David Sanborn — baritone saxophone

Production:
Bruce Springsteen, Jon Landau, and Mike Appel — record producers (except “Born To Run”, produced by Springsteen and Appel)
John Berg — album design
Greg Calbi — mastering
Charles Calello — conductor, string arrangements
Andy Engel — album design
Bob Ludwig — remastering

Note
This 30th Anniversary Edition of Born to Run was remastered by acclaimed engineer Bob Ludwig, working directly with Springsteen and longtime engineer Toby Scott, newly transferred from the original analogue masters using the Plangent Process playback system.

Download:

https://file.al/iug587vnpt22/hires.link_BruceSpringsteenBrnTRun19752014HDTracks2496.rar.html

Artist: Bruce Springsteen
Title: Darkness On The Edge Of Town
Genre: Rock
Release Date: 1978/2014
Label: Columbia
Duration: 43:00
Quality: FLAC 96kHz/24bit
Source: HDTracks

The fourth studio album by Bruce Springsteen, Darkness on the Edge of Town is considered by many to be one of Springsteen’s most highly regarded records. Rolling Stone magazine has ranked it at #150 on their list of the 500 Greatest Albums of All Time, and it has been certified triple-platinum by the RIAA.

Darkness on the Edge of Town was released in 1978, three years after Springsteen’s previous album Born to Run. The album follows Springsteen’s “four corners” approach to album structure. The songs beginning each side of the record are rallying, rousting numbers and the songs ending each side focus on hard circumstances that seem to obliterate all hope. Critics praised the maturity of Springsteen’s lyrics and themes on the album; and although Darkness on the Edge of Town did not generate any significant hit singles, the album itself was critically well-received and was called a landmark record in rock and roll.

Tracklist:
01 — Badlands
02 — Adam Raised a Cain
03 — Something in the Night
04 — Candy’s Room
05 — Racing in the Street
06 — The Promised Land
07 — Factory
08 — Streets of Fire
09 — Prove It All Night
10 — Darkness on the Edge of Town

Pesrsonal
Bruce Springsteen — lead vocals, lead guitar, harmonica
Roy Bittan — piano, vocals
Clarence Clemons — saxophone, vocals
Danny Federici — organ, glockenspiel
Garry Tallent — bass guitar
Steve Van Zandt — rhythm guitar, vocals
Max Weinberg — drums

Download:

https://file.al/tz2giphxik27/hires.link_BruceSpringsteenDarknessnTheEdgefTwn19782014HDTracks2496.rar.html

Artist: Bruce Springsteen
Title: Greetings From Asbury Park, N.J
Genre: Rock
Release Date: 1973/2014
Label: Columbia
Duration: 37:10
Quality: FLAC 96kHz/24bit
Source: HDTracks

Greetings from Ashbury Park, N.J. is the debut studio album by Bruce Springsteen. Originally released in 1973, the album only sold about 25,000 copies but made a strong impression with critics and would go on to become a successful album, peaking at #60 on the Billboard 200 albums chart. The album featured two singles, “Blinded by the Light” and “Spirit in the Night”. Rolling Stone magazine ranked it at #379 on its list of the 500 Greatest Albums of All Time.

Bruce Springsteen’s debut album found him squarely in the tradition of Bob Dylan: folk-based tunes arranged for an electric band featuring piano and organ (plus, in Springsteen’s case, 1950s-style rock & roll tenor saxophone breaks), topped by acoustic guitar and a husky voice singing lyrics full of elaborate, even exaggerated imagery. But where Dylan had taken a world-weary, cynical tone, Springsteen was exuberant. His street scenes could be haunted and tragic, as they were in “Lost in the Flood,” but they were still imbued with romanticism and a youthful energy. Asbury Park painted a portrait of teenagers cocksure of themselves, yet bowled over by their discovery of the world. It was saved from pretentiousness (if not preciousness) by its sense of humor and by the careful eye for detail that kept even the most high-flown language rooted. Like the lyrics, the arrangements were busy, but the melodies were well developed and the rhythms, pushed by drummer Vincent Lopez, were breakneck.

Tracklist:
01 — Blinded By The Light
02 — Growin’ Up
03 — Mary Queen Of Arkansas
04 — Does This Bus Stop At 82nd Street?
05 — Lost In The Flood
06 — The Angel
07 — For You
08 — Spirit In The Night
09 — It’s Hard To Be A Saint In The City

Pesrsonal
The E Street Band:
Clarence Clemons — clapping, saxophone, vocals
Vini “Mad Dog” Lopez — clapping, drums, vocals
David Sancious — keyboards, organ, piano
Bruce Springsteen — acoustic guitar, bass guitar, clapping, congas, electric guitar, harmonica, keyboards, piano, vocals
Garry Tallent — bass guitar

Additional musicians:
Richard Davis — upright double bass on “The Angel”
Harold Wheeler — piano on “Blinded By the Light” and “Spirit In The Night”
Steven Van Zandt — sound effects on “Lost in the Flood”[17]

Production:
Louis Lahav — engineer
Jack Ashkinazy — remixing
John Berg — cover design
Fred Lombardi — back cover design

Note
This release of Greetings from Ashbury Park, N.J. was remastered by acclaimed engineer Bob Ludwig, working directly with Springsteen and longtime engineer Toby Scott, newly transferred from the original analogue masters using the Plangent Process playback system.

Download:

https://file.al/crqgqaboijaa/hires.link_BruceSpringsteenGreetingsFrmAsburyParkN.J.19732014HDTracks2496.rar.html

Artist: Bruce Springsteen
Title: Nebraska
Genre: Rock
Release Date: 1982/2014
Label: Columbia
Duration: 40:48
Quality: FLAC 192kHz/24bit
Source: HDTracks

Recorded on four-track cassette in his New Jersey bedroom, Nebraska has proved one of Springsteen’s most enduring works, a raw, haunted acoustic record populated by lost souls searching not for salvation through music but simply a reason to believe. His sixth record, Springsteen appeared by himself without the E Street Band backing him up. He later recording with the band, but ultimately chose to put out the demos for a more natural sound.

There is an adage in the record business that a recording artist’s demos of new songs often come off better than the more polished versions later worked up in a studio. But Bruce Springsteen was the first person to act on that theory, when he opted to release the demo versions of his latest songs, recorded with only acoustic or electric guitar, harmonica, and vocals, as his sixth album, Nebraska. It was really the content that dictated the approach, however. Nebraska’s ten songs marked a departure for Springsteen, even as they took him farther down a road he had been traveling previously. Gradually, his songs had become darker and more pessimistic, and those on Nebraska marked a new low. They also found him branching out into better developed stories. The title track was a first-person account of the killing spree of mass murderer Charlie Starkweather. (It can’t have been coincidental that the same story was told in director Terrence Malick’s 1973 film Badlands, also used as a Springsteen song title.) That song set the tone for a series of portraits of small-time criminals, desperate people, and those who loved them. Just as the recordings were unpolished, the songs themselves didn’t seem quite finished; sometimes the same line turned up in two songs. But that only served to unify the album. Within the difficult times, however, there was hope, especially as the album went on. “Open All Night” was a Chuck Berry-style rocker, and the album closed with “Reason to Believe,” a song whose hard-luck verses were belied by the chorus — even if the singer couldn’t understand what it was, “people find some reason to believe.” Still, Nebraska was one of the most challenging albums ever released by a major star on a major record label.

Tracklist:
01 — Nebraska
02 — Atlantic City
03 — Mansion On The Hill
04 — Johnny 99
05 — Highway Patrolman
06 — State Trooper
07 — Used Cars
08 — Open All Night
09 — My Father’s House
10 — Reason To Believe

Pesrsonal
Bruce Springsteen — vocals, guitar, harmonica, mandolin, glockenspiel, tambourine, organ, synthesizer

Production:
Producer: Bruce Springsteen
Recording engineer: Mike Batlin
Mastering engineer: Dennis King

Download:

https://file.al/4asspr2jriul/hires.link_BruceSpringsteenNebraska19822014HDTracks24192.part1.rar.html
https://file.al/7417b1dtkjpf/hires.link_BruceSpringsteenNebraska19822014HDTracks24192.part2.rar.html

Artist: Bruce Springsteen
Title: The River
Genre: Rock
Release Date: 1980/2014
Label: Columbia
Duration: 01:23:43
Quality: FLAC 44.1kHz/24bit
Source: HDTracks
Recorded: Recorded between March 1979 – August 1980 at The Power Station in New York.

A blowout double-album split evenly between huge house-party numbers (and a wealth of live staples) and darker, real-world tales in the vein of the title track, The River represented a Springsteen out to explore the emerging dualities of his music. The record features titles “Hungry Heart”, “Fade Away” and “Sherry Darling”.

Imbedded within the double-disc running time of The River is a single-disc album that follows up on the themes and sound of Darkness on the Edge of Town — wide-screen, midtempo rock and stories of the disillusionment of working-class life and the conflicts within families. In these songs, which include the title track, “Independence Day,” and “Point Blank,” Bruce Springsteen’s world-view is just as dire as it had become on Darkness, but less judgmental. “Independence Day,” for example, is a father-and-son ballad that has little of the anger of its hard rock counterpart on Darkness, “Adam Raised a Cain.” Springsteen’s heroes again seek to overcome their crushing troubles through defiance and by driving around, and though “The River” repeats the soured love theme of “Racing in the Street,” he also posits romance as a possible escape, sometimes combining it with one of the other solutions, as on the eight-plus-minute “Drive All Night.” But there is also another album lurking within The River, and it is a more lighthearted pop/rock collection of short, sometimes humorous songs like “Sherry Darling” and “I’m a Rocker.” At times Springsteen combines elements of the two, as on “Out in the Street,” perhaps the album’s quintessential song, a catchy, uptempo number that sounds like something from the early ’60s and echoes the theme of the Vogues’ 1966 hit “Five O’Clock World.” “Hungry Heart,” which became Springsteen’s first Top Ten hit, combines a rollicking musical track with a more sober lyrical theme that emphasizes longing over disappointment. But a better guide to Springsteen’s development are the songs “Stolen Car” and the album-closing “Wreck on the Highway,” gentle, moody ballads imbued with a sense of hopelessness that anticipate his next record, Nebraska.

Tracklist:
01 — The Ties That Bind
02 — Sherry Darling
03 — Jackson Cage
04 — Two Hearts
05 — Independence Day
06 — Hungry Heart
07 — Out in the Street
08 — Crush on You
09 — You Can Look (But You Better Not Touch)
10 — I Wanna Marry You
11 — The River
12 — Point Blank
13 — Cadillac Ranch
14 — I’m a Rocker
15 — Fade Away
16 — Stolen Car
17 — Ramrod
18 — The Price You Pay
19 — Drive All Night
20 — Wreck on the Highway

Pesrsonal
Bruce Springsteen — lead vocals, electric & acoustic guitars, 12-string electric guitar, harmonica, percussion, piano
Roy Bittan — piano, organ on “I’m a Rocker” and “Drive All Night”, background vocals
Clarence Clemons — tenor saxophone, baritone saxophone, percussion, background vocals
Danny Federici — organ, glockenspiel
Garry Tallent — bass
Steven Van Zandt — rhythm electric guitar, acoustic guitar, lead guitar, harmony vocals, background vocals
Max Weinberg — drums, percussion
Flo & Eddie — harmony vocals
Howard Kaylan — harmony vocals
Mark Volman — harmony vocals

Production:
Producers: Bruce Springsteen, Jon Landau and Steven Van Zandt
Recording engineers: Neil Dorfsman and Dana Bisbee (assistant)
Mixing engineers: Bob Clearmountain, Chuck Plotkin and Toby Scott

Download:

https://file.al/zx1n9pbtjx3o/hires.link_BruceSpringsteenTheRiver19802014HDTracks24441.rar.html

Artist: Bruce Springsteen
Title: The Wild, The Innocent & The E Street Shuffle
Genre: Rock
Release Date: 1973/2014
Label: Columbia
Duration: 46:46
Quality: FLAC 96kHz/24bit
Source: HDTracks
Recorded: Recorded May-September 1973 at 914 Sound Studios in Blauvelt, New York.

American singer-songwriter Bruce Springsteen’s second studio album. The Wild, the Innocent & the E Street Shuffle was recorded with the E Street Band and features their popular set-closing single “Rosalita (Come Out Tonight)”. After it’s initial release the record didn’t gather much attention, however after Springsteen released his third album, Born To Run, and his popularity grew, The Wild, the Innocent & the E Street Shuffle was more appreciated by his fans.

Bruce Springsteen expanded the folk-rock approach of his debut album, Greetings from Asbury Park, N.J., to strains of jazz, among other styles, on its ambitious follow-up, released only eight months later. His chief musical lieutenant was keyboard player David Sancious, who lived on the E Street that gave the album and Springsteen’s backup group its name. With his help, Springsteen created a street-life mosaic of suburban society that owed much in its outlook to Van Morrison’s romanticization of Belfast in Astral Weeks. Though Springsteen expressed endless affection and much nostalgia, his message was clear: this was a goodbye-to-all-that from a man who was moving on. The Wild, the Innocent & the E Street Shuffle represented an astonishing advance even from the remarkable promise of Greetings; the unbanded three-song second side in particular was a flawless piece of music. Musically and lyrically, Springsteen had brought an unruly muse under control and used it to make a mature statement that synthesized popular musical styles into complicated, well-executed arrangements and absorbing suites; it evoked a world precisely even as that world seemed to disappear. Following the personnel changes in the E Street Band in 1974, there is a conventional wisdom that this album is marred by production lapses and performance problems, specifically the drumming of Vini Lopez. None of that is true. Lopez’s busy Keith Moon style is appropriate to the arrangements in a way his replacement, Max Weinberg, never could have been. The production is fine. And the album’s songs contain the best realization of Springsteen’s poetic vision, which soon enough would be tarnished by disillusionment. He would later make different albums, but he never made a better one. The truth is, The Wild, the Innocent & the E Street Shuffle is one of the greatest albums in the history of rock & roll.

Tracklist:
01 — The E Street Shuffle
02 — 4th of July, Asbury Park (Sandy)
03 — Kitty’s Back
04 — Wild Billy’s Circus Story
05 — Incident on 57th Street
06 — Rosalita (Come Out Tonight)
07 — New York City Serenade

Pesrsonal
Bruce Springsteen — guitars, harmonica, mandolin, recorder, maracas, lead vocals
Clarence “Nick” Clemons — saxophones, backing vocals
David L. Sancious — piano, organ, electric piano, clavinet, soprano saxophone, backing vocals
Danny Federici — accordion, backing vocals, piano
Garry Tallent — bass, tuba, backing vocals
Vini “Mad Dog” Lopez — drums, backing vocals, cornet

Additional personnel:
Richard Blackwell — conga, percussion
Albany “Al” Tellone — baritone saxophone
Suki Lahav — choir vocals

Production:
Producers: Mike Appel and Jim Cretecos
Recording engineer: Louis Lahav

Download:

https://file.al/9oh0yghhgatl/hires.link_BruceSpringsteenTheWildTheInncentTheEStreetShuffle19732014HDTracks2496.part1.rar.html
https://file.al/6v0n2dx8822i/hires.link_BruceSpringsteenTheWildTheInncentTheEStreetShuffle19732014HDTracks2496.part2.rar.html

Artist: Bruce Springsteen
Title: Devils & Dust
Genre: Rock
Release Date: 2005/2015
Label: Columbia
Duration: 50:51
Quality: FLAC 96kHz/24bit
Source: HDTracks

Devils & Dust is Springsteen’s thirteenth studio album and his third acoustic album. The record reached number 1 on the US Billboard 200 albums chart.

Every decade or so, Bruce Springsteen releases a somber album of narrative songs, character sketches, and folk tunes — records that play not like rock & roll, but rather as a collection of short stories. Nebraska, released in the fall of 1982 during the rise of Reagan’s America, was the first of these, with the brooding The Ghost of Tom Joad following in 1995, in the thick of the Clinton administration but before the heady boom days of the late ’90s. At the midpoint of George W. Bush’s administration, Springsteen released Devils & Dust, another collection of story songs that would seem on the surface to be a companion to Nebraska and Ghost, but in actuality is quite a different record than either. While the characters that roam through Devils & Dust are similarly heartbroken, desperate, and downtrodden, they’re far removed from the criminals and renegades of Nebraska, and the album doesn’t have the political immediacy of Ghost’s latter-day Woody Guthrie-styled tales — themes that tied together those two albums. Here, the songs and stories are loosely connected. Several are set in the West, some are despairing, some have signs of hope, a couple are even sweet and light. Springsteen’s writing is similarly varied, occasionally hearkening back to the spare, dusty prose of Nebraska, but often it’s densely composed, assured, and evocative, written as if the songs were meant to be read aloud, not sung. But the key to Devils & Dust, and why it’s his strongest record in a long time, is that the music is as vivid and varied as the words. Unlike the meditative, monochromatic The Ghost of Tom Joad, this has different shades of color, so somber epics like “The Hitter” or the sad, lonely “Reno” are balanced by the lighter “Long Time Comin’,” “Maria’s Bed,” and “All I’m Thinkin’ About,” while the moodier “Black Cowboys” and “Devils & Dust” are enhanced by subtly cinematic productions. It results in a record that’s far removed in feel from the stark, haunting Nebraska, but on a song-for-song level, it’s nearly as strong, since its stories linger in the imagination as long as the ones from that 1982 masterpiece (and they stick around longer than those from Ghost, as well). Devils & Dust is also concise and precisely constructed, two things the otherwise excellent 2002 comeback The Rising was not, and that sharp focus helps make this the leanest, artiest, and simply best Springsteen record in many years. –AllMusic Review by Stephen Thomas Erlewine

Tracklist:
1. Devils & Dust 04:58
2. All The Way Home 03:35
3. Reno 04:08
4. Long Time Comin’ 04:17
5. Black Cowboys 04:07
6. Maria’s Bed 05:37
7. Silver Palomino 03:21
8. Jesus Was an Only Son — The Song 02:52
9. Leah 03:33
10. The Hitter 05:48
11. All I’m Thinkin’ About 04:17
12. Matamoros Banks 04:00

Pesrsonal
Bruce Springsteen — vocals, guitar, keyboards, bass guitar, drums, harmonica, tambourine, percussion
Brendan O’Brien — hurdy-gurdy, sarangi, sitar, bass guitar, tambora
Steve Jordan — drums
Patti Scialfa — backing vocals
Soozie Tyrell — violin, backing vocals
Marty Rifkin — steel guitar
Lisa Lowell — backing vocals
Chuck Plotkin — piano
Danny Federici — keyboards
Nashville String Machine — strings
Brice Andrus, Susan Welty, Thomas Witte, Donald Strand — horns
Mark Pender — trumpet

Note
This album sourced from a 44.1kHz/24 bit Pro Tools session and mastered at 96kHz/24 bit

Download:

https://file.al/8wegp6vtla1v/hires.link_BruceSpringsteenDevilsDust20052015HDTracks2496.part1.rar.html
https://file.al/aqe4kyttaqz1/hires.link_BruceSpringsteenDevilsDust20052015HDTracks2496.part2.rar.html

Artist: Bruce Springsteen
Title: High Hopes
Genre: Rock
Release Date: 2014
Label: Columbia
Duration: 56:29
Quality: FLAC 44.1kHz/24bit
Source: HDTracks

Recorded in New Jersey, LA, Atlanta, Australia and New York City, High Hopes marks Springsteen’s 18th studio album and features the members of the E Street Band as well as guitarist Tom Morello. The album features his latest single “High Hopes.” Clarence Clemons, who passed away in 2011, and Danny Federici, who passed away in 2008, also appear on several songs of what Springsteen calls “some of our best unreleased material from the past decade”.

There isn’t another Bruce Springsteen album like High Hopes. Cobbled together from covers — of other songwriters along with the Boss himself (“American Skin [41 Shots]” and “The Ghost of Tom Joad” are both revived) — and outtakes from the last decade, High Hopes doesn’t have the cohesion or gilded surfaces of Wrecking Ball, but neither is it quite a clearinghouse of leftovers. Inspired in part by Rage Against the Machine guitarist Tom Morello, who has proven to be a brother in arms to Springsteen, as well as a substitute for Steven Van Zandt in the E-Street Band, High Hopes certainly bears the proud stamp of Morello, both in its workingman’s politics and in its cinematic sound. Much of this record oscillates between the moody and militant, particularly in the politically charged numbers, which are often colored by percussive guitar squalls. Here, the RATM guitarist often resembles a Nils Lofgren stripped of blues or lyricism — think of the gusts of noise on “Tunnel of Love” without any melodicism — and that’s a bracing change for Springsteen, who has shown interest in atmospherics but usually when they’re coming from keyboards, not six strings. Such sociological talk suggests High Hopes is nothing but rallying cries and downhearted laments, but the fascinating thing about this unkempt collection is how these protest songs and workingman’s anthems are surrounded by intimate tunes, ranging from a cover of the Saints’ latter-day “Just Like Fire Would” to a strangely soothing interpretation of Suicide’s “Dream Baby Dream.” Morello reportedly had as much to do with the inclusion of these covers as he did with the record’s set pieces — a stirring “The Ghost of Tom Joad,” “American Skin” (which can’t help but seem like a reference to the 2012 shooting of Trayvon Martin in this context), and “High Hopes,” a Tim Scott McConnell song first recorded in the ’90s — and there’s a certain sober passion that ties all these songs together but, in turn, it makes the rest of the record all the more compelling because the pieces simply don’t fit. There’s the rousing Gaelic rock of “This Is Your Sword,” sounding a bit like a rejected closing credit theme for The Wire; “Down in the Hole,” which rides the same train-track rhythm as “I’m on Fire;” the complicated waltz of “Hunter of Invisible Game,” softer and stranger than much of the rest here; “Harry’s Place,” a bit of synthesized Sopranos noir that sounds much older than its ten years; and the absolutely glorious “Frankie Fell in Love,” as open-hearted and romantic a song as Springsteen has ever written. Strictly speaking, these 12 songs don’t cohere into a mood or narrative but after two decades of deliberate, purposeful albums, it’s rather thrilling to hear Springsteen revel in a mess of contradictions.

Tracklist:
01 — High Hopes
02 — Harry’s Place
03 — American Skin (41 Shots)
04 — Just Like Fire Would
05 — Down in the Hole
06 — Heaven’s Wall
07 — Frankie Fell in Love
08 — This is Your Sword
09 — Hunter of Invisible Game
10 — The Ghost of Tom Joad
11 — The Wall
12 — Dream Baby Dream

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Artist: Bruce Springsteen
Title: Human Touch
Genre: Rock
Release Date: 1992/2015
Label: Columbia
Duration: 57:59
Quality: FLAC 44.1kHz/24bit
Source: Pono

Human Touch is the ninth studio album by Bruce Springsteen. The album was released on March 31, 1992. The album was co-released on the same day as Lucky Town. It was the more popular of the two, and it peaked at number two on the Billboard 200, with “Human Touch” (paired with Lucky Town’s “Better Days”) peaking at number one on the Album Rock Tracks chart and #16 on the Billboard Hot 100 chart.

Bruce Springsteen has always been steeped in mainstream pop/rock music, using it as a vocabulary for what he wanted to say about weightier matters. And he has always written generic pop as well, though he’s usually given the results away to performers like Southside Johnny and Gary “U.S.” Bonds. Sometimes, those songs have been hits — think of the Pointer Sisters’ “Fire” or Bonds’ “This Little Girl Is Mine.” Occasionally, Springsteen has used such material here and there on his own albums; some of it can be found on The River, for example. But Human Touch was the first Bruce Springsteen album to consist entirely of this kind of minor genre material, material he seems capable of turning out endlessly and effortlessly — the point of “I Wish I Were Blind” is that the singer doesn’t want to see, now that his baby has left him; “57 Channels (And Nothin’ On)” is about TV; “Real Man” finds the singer declaring that, while he may not be an action hero like Rambo, he feels like a real man in his baby’s arms. And Springsteen, having largely jettisoned the E Street Band (keyboardist Roy Bittan remained), enlisted some sturdy minor talent to play and sing, among them ace studio drummer Jeff Porcaro (on one of his final recording sessions), Sam Moore of Sam & Dave, and Bobby Hatfield of the Righteous Brothers. It’s pleasant enough stuff, and easy to listen to, but it is not the kind of record Springsteen had conditioned his audience to expect, and its release brought considerable disappointment. The reaction was exacerbated by the drawn-out release schedule that by 1992 had become common to superstars: this simply wasn’t the record Springsteen fans had waited four and a half years to hear. Though at nearly 59 minutes it was the longest single-disc album of his career (which is not even counting the fact that a second whole album was released simultaneously), and though it contained several songs that could have been big hits — the “Tunnel of Love” sound-alike title track, which actually made the Top 40, “Roll of the Dice,” an AOR radio favorite, “Man’s Job,” and even “Soul Driver,” which belonged on the next Southside album — Human Touch was an uninspired Bruce Springsteen album, his first that didn’t at least aspire to greatness. Springsteen may have put out the more substantial Lucky Town at the same time in recognition of the relatively slight nature of the material here.

Tracklist:
01 — Human Touch
02 — Soul Driver
03 — 57 Channels (And Nothin’ On)
04 — Cross My Heart
05 — Gloria’s Eyes
06 — With Every Wish
07 — Roll of the Dice
08 — Real World
09 — All Or Nothin’ At All
10 — Man’S Job
11 — I Wish I Were Blind
12 — The Long Goodbye
13 — Real Man
14 — Pony Boy

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Artist: Bruce Springsteen
Title: Lucky Town
Genre: Rock
Release Date: 1992/2015
Label: Columbia
Duration: 39:38
Quality: FLAC 44.1kHz/24bit
Source: Pono
Recorded: September 1991 – January 1992 at Thrill Hill Recording and A&M Studios

Lucky Town is the tenth studio album by Bruce Springsteen. The album was released on March 31, 1992, the same day as the Human Touch album.

Reportedly, Bruce Springsteen recorded most of Human Touch in 1990, but left it unreleased. He returned to work in the fall of 1991, intending to add a song, but ended up recording a whole new album, Lucky Town, and then decided to release both records at the same time in the spring of 1992. He might have been better off pulling a couple of the stronger songs from the earlier album, adding them to the later one (which runs less than 40 minutes), and shelving the rest. While Human Touch was a disappointing album of second-rate material, Lucky Town is an ambitious collection addressing many of Springsteen’s major concerns and moving them forward. Here was the rage and the humor, the sense of compassion, the loyalty and commitment that had been the stuff of Springsteen’s best music from the beginning. Songs like “Better Days” and “Local Hero” commented on and deflated the commercial success with which Springsteen clearly felt uncomfortable; “If I Should Fall Behind” and “Book of Dreams” expressed romantic fidelity and generosity; “Souls of the Departed” contained scathing social commentary; and “My Beautiful Reward” was a meditative epilogue. The lyrics were better, the arrangements tighter, the performances more powerful than those on the companion release. If Lucky Town, like Tunnel of Love and Human Touch before it, sounded a little under-produced, it nevertheless had the mark of the major artist Springsteen is, and if he had released it alone, it might have had a more significant impact. –William Ruhlmann

Tracklist:
1. “Better Days” 4:08
2. “Lucky Town” 3:27
3. “Local Hero” 4:04
4. “If I Should Fall Behind” 2:57
5. “Leap of Faith” 3:27
6. “The Big Muddy” 4:05
7. “Living Proof” 4:49
8. “Book of Dreams” 4:24
9. “Souls of the Departed” 4:17
10. “My Beautiful Reward” 3:55
All songs written by Bruce Springsteen.

Pesrsonal
Bruce Springsteen — guitar, lead vocals, keyboards, bass guitar, harmonica, percussion
Gary Mallaber — drums
Roy Bittan — keyboards on “Leap of Faith”, “The Big Muddy” and “Living Proof”
Patti Scialfa — backing vocals on “Better Days”, “Local Hero” and “Leap of Faith”
Soozie Tyrell — backing vocals on “Better Days”, “Local Hero” and “Leap of Faith”
Lisa Lowell — backing vocals on “Better Days”, “Local Hero” and “Leap of Faith”
Randy Jackson — bass guitar on “Better Days”
Ian McLagan — organ on “My Beautiful Reward”

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Artist: Bruce Springsteen
Title: The Agora, Cleveland 1978
Genre: Rock
Release Date: 2014
Label:
Duration: 02:54:10
Quality: FLAC 192kHz/24bit
Source: live.brucespringsteen.net
Recorded: August 09, 1978 at The Agora Theatre, Cleveland, OH

Deep into the Darkness Tour, the E Street Band took the stage at Cleveland’s Agora Theatre and Ballroom on August 9, 1978, where the entire show was simulcast on local station WMMS and many other stations around the country to an estimated audience of 3 million listeners. For years bootleg copies of the FM broadcast, in various degrees of quality, widely circulated among collectors and established The Agora ’78 as a legendary performance from Darkness-era Springsteen.
Not until now, however, has the pristine live stereo mix been heard. Seven 1/4 inch reels were unearthed in the Thrill Hill Archives and transferred via the Plangent Process, the same method used on the recent Album Collection Vol. 1 remastering project.
The entire show is now available in High Definition 24 bit / 192 kHz audio, as well as on a 3 CD set and MP3 and CD-Quality downloads.

I found the seven Agora tape reels in a box that had been returned from the Rock’n Roll Hall Of Fame. The tapes were part of an exclusive Springsteen exhibit “Asbury Park to the Promised Land”. It wasn’t until the request to release this show came up that the tapes needed to be found. Not at Sony, not at Thrill Hill Archives, not at the archiving company. Last known location was the Rock’n Roll Hall of Fame. They informed me what box to look in and there they were, marked with the original indication of speed, tracks and show date.
I had the tapes delivered to Plangent Processes for evaluation and transfer, if they seemed to be of adequate quality. After comparison to other copies of this show, this was the best version and potentially the original master tapes. Plangent transferred all seven reels using their unique process, which corrects any speed variations for accurate playback. This eliminates the wow and flutter usually found in the playback of any analog tape. This new transfer to the digital domain was done at 192 (samples per second) with 24 bit resolution. The resulting digital files were sent to Gateway Mastering for evaluation and mastering, as was done to the Box Set Volume 1, recently released to critical acclaim. The resulting new master will give a renewed vigor to the already exciting show. –Toby Scott

Tracklist:
SET ONE
1. Summertime Blues 03:20
2. Badlands 04:46
3. Spirit In The Night 08:04
4. Darkness On The Edge Of Town 05:36
5. Factory 03:22
6. The Promised Land 06:00
7. Prove It All Night 11:49
8. Racing in the Street 08:58
9. Thunder Road 06:44
10. Jungleland 10:18

SET TWO
1. Paradise By The “C” 04:04
2. Fire 03:06
3. Sherry Darling 06:12
4. Not Fade Away — Gloria — She’s The One 14:53
5. Growin’ Up 13:02
6. Backstreets 14:02
7. Rosalita (Come Out Tonight) 12:51

FIRST ENCORE
1. 4th of July, Asbury Park (Sandy) 08:44
2. Born to Run 06:09
3. Because the Night 08:12
4. Raise Your Hand 06:37

SECOND ENCORE
1. Twist and Shout 07:24

Pesrsonal
Bruce Springsteen — lead and backing vocals, guitar, harmonica, piano
Roy Bittan — piano, keyboards, backing vocals
Clarence Clemons — tenor, baritone and soprano saxophones, backing vocals, percussion
Danny Federici — organ, piano, accordion, glockenspiel, backing vocals
Garry Tallent — bass, backing vocals, percussion
Steven Van Zandt — guitar, mandolin, backing vocals
Max Weinberg — drums, backing vocals

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Artist: Bruce Springsteen
Title: The Rising
Genre: Rock
Release Date: 2002/2015
Label: Columbia
Duration: 01:12:57
Quality: FLAC 88.2kHz/24bit
Source: HighResAudio
Recorded: January-March 2002

The Rising is the twelfth studio album by American recording artist Bruce Springsteen, released in 2002 on Columbia Records. In addition to being Springsteen’s first studio album in seven years, it was also his first with the E Street Band in 18 years.[1] Widely believed to have been based on Springsteen’s reflections during the aftermath of the September 11, 2001 attacks, the album is predominantly centered upon themes of relationship struggles, existential crisis and social uplift.

Upon its release, The Rising was a critical and commercial success, and hailed as the triumphant return for Springsteen. It debuted at #1 on the Billboard 200 chart, with first-week sales of over 520,000 copies. With this, Springsteen became the oldest person to achieve a first-week sales of over a half of a million copies in the United States.[citation needed] The album also garnered a Grammy Award for Best Rock Album in 2003; although nominated for the Album of the Year award as well, it was beaten by Norah Jones’ debut album Come Away with Me. Title song “The Rising” was also a Grammy recipient.

The set opens with “Lonesome Day,” a midtempo rocker with country-ish roots. Springsteen’s protagonist admits to his or her shortcomings in caring for the now-absent beloved. But despite the grief and emptiness, there is a wisdom that emerges in questioning what remains: “Better ask questions before you shoot/Deceit and betrayal’s bitter fruit/It’s hard to swallow come time to pay/That taste on your tongue don’t easily slip away/Let kingdom come/I’m gonna find my way/ Through this lonesome day.” Brendan O’Brien’s hurdy-gurdy cuts through the mix like a ghost, offering a view of an innocent past that has been forever canceled because it never was anyway; the instrument, like the glockenspiels that trim Bruce Springsteen’s songs, offers not only texture, but a kind of formalist hint that possibilities don’t always lie in the future. Lest anyone mistakenly perceive this recording as a somber evocation of loss and despair, it should also be stated that this is very much an E Street Band recording. Clarence Clemons is everywhere, and the R&B swing and slip of the days of yore is in the house — especially on “Waitin’ for a Sunny Day,” “Countin’ on a Miracle,” “Mary’s Place” (with a full horn section), and the souled-out “Let’s Be Friends (Skin to Skin).” These tracks echo the past with their loose good-time feel, but “echo” is the key word. Brendan O’Brien’s guitar-accented production offers us an E Street Band coming out of the ether and stepping in to fill a void. The songs themselves are, without exception, rooted in loss, but flower with the possibility of moving into what comes next, with a hard-won swagger and busted-up grace. They offer balance and a shifting perspective, as well as a depth that is often deceptive.

The title track is one of Springsteen’s greatest songs. It is an anthem, but not in the sense you usually reference in regard to his work. This anthem is an invitation to share everything, to accept everything, to move through everything individually and together. Power-chorded guitars and pianos entwine in the choruses with a choir, and Clemons wails on a part with a stinging solo. With The Rising, Springsteen has found a way to be inclusive and instructive without giving up his particular vision as a songwriter, nor his considerable strength as a rock & roll artist. In fact, if anything, The Rising is one of the very best examples in recent history of how popular art can evoke a time period and all of its confusing and often contradictory notions, feelings, and impulses. There are tales of great suffering in The Rising to be sure, but there is joy, hope, and possibility, too. Above all, there is a celebration and reverence for everyday life. And if we need anything from rock & roll, it’s that. It would be unfair to lay on Bruce Springsteen the responsibility of guiding people through the aftermath of a tragedy and getting on with the business of living, but rock & roll as impure, messy, and edifying as this helps. –AllMusic Review by Thom Jurek

Tracklist:
1 Lonesome Day 4:08
2 Into The Fire 5:04
3 Waitin’ On A Sunny Day 4:18
4 Nothing Man 4:23
5 Countin’ On A Miracle 4:44
6 Empty Sky 3:34
7 Worlds Apart 6:07
8 Let’s Be Friends (Skin To Skin) 4:21
9 Further On (Up The Road) 3:52
10 The Fuse 5:37
11 Mary’s Place 6:03
12 You’re Missing 5:10
13 The Rising 4:50
14 Paradise 5:39
15 My City Of Ruins 5:00

Pesrsonal
E Street Band:
Bruce Springsteen — lead guitar, vocals, acoustic guitar, baritone guitar, harmonica
Roy Bittan — keyboards, piano, mellotron, Kurzweil, pump organ, Korg M1, crumar
Clarence Clemons — saxophone, background vocals
Danny Federici — Hammond B3, Vox Continental, Farfisa
Nils Lofgren — electric guitar, Dobro, slide guitar, banjo, background vocals
Patti Scialfa — vocals
Garry Tallent — bass guitar
Steven Van Zandt — electric guitar, background vocals, mandolin
Max Weinberg — drums

Additional:
Soozie Tyrell — violin, background vocals
Brendan O’Brien — hurdy-gurdy, glockenspiel, orchestra bells
Larry Lemaster — cello
Jere Flint — cello
Jane Scarpantoni — cello
Nashville String Machine
Asuf Ali Khan and group
Alliance Singers
The Miami Horns

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Artist: Bruce Springsteen
Title: Tunnel Of Love
Genre: Rock
Release Date: 1987/2015
Label: Columbia
Duration: 46:22
Quality: FLAC 96kHz/24bit
Source: HDTracks
Recorded: January – July 1987

Tunnel of Love is the eighth studio album by Bruce Springsteen released in 1987. In 1989, the album was ranked #25 on Rolling Stone magazine’s list of the “100 Best Albums of the Eighties” while in 2003, the same magazine ranked it at #467 on their list of the 500 greatest albums of all time. In 1998, Q magazine readers voted Tunnel of Love the 91st greatest album of all time.

Just as he had followed his 1980 commercial breakthrough The River with the challenging Nebraska, Bruce Springsteen followed the most popular album of his career, Born in the U.S.A., with another low-key, anguished effort, Tunnel of Love. Especially in their sound, several of the songs, “Cautious Man” and “Two Faces,” for example, could have fit seamlessly onto Nebraska, though the arrangements overall were not as stripped-down and acoustic as on the earlier album. While Nebraska was filled with songs of economic desperation, however, Tunnel of Love, as its title suggested, was an album of romantic exploration. But the lovers were just as desperate in their way as Nebraska’s small-time criminals. In song after song, Springsteen questioned the trust and honesty on both sides in a romantic relationship, specifically a married relationship. Since Springsteen sounded more autobiographical than ever before (“Ain’t Got You” referred to his popular success, while “Walk Like a Man” seemed another explicit message to his father), it was hard not to wonder about the state of his own two-and-a-half-year marriage, and it wasn’t surprising when that marriage collapsed the following year. Tunnel of Love was not the album that the ten million fans who had bought Born in the U.S.A. as of 1987 were waiting for, and though it topped the charts, sold three million copies, and spawned three Top 40 hits, much of this was on career momentum. Springsteen was as much at a crossroads with his audience as he seemed to be in his work and in his personal life, though this was not immediately apparent. –William Ruhlmann

Tracklist:
1. Ain’t Got You 2:11
2. Tougher Than the Rest 4:35
3. All That Heaven Will Allow 2:39
4. Spare Parts 3:44
5. Cautious Man 3:58
6. Walk Like a Man 3:45
7. Tunnel of Love 5:12
8. Two Faces 3:03
9. Brilliant Disguise 4:17
10. One Step Up 4:22
11. When You’re Alone 3:24
12. Valentine’s Day 5:10
All songs written and composed by Bruce Springsteen.

Pesrsonal
Roy Bittan — piano on “Brilliant Disguise”, synthesizers on “Tunnel of Love”
Clarence Clemons — vocals on “When You’re Alone”
Danny Federici — organ on “Tougher Than the Rest”, “Spare Parts”, “Two Faces”, and “Brilliant Disguise”
Nils Lofgren — guitar solo on “Tunnel of Love”, vocals on “When You’re Alone”
Patti Scialfa — vocals on “Tunnel of Love”, “One Step Up” and “When You’re Alone”
Bruce Springsteen — lead vocals, guitar, bass guitar, keyboards, harmonica, percussion
Garry Tallent — bass guitar on “Spare Parts”
Max Weinberg — drums on “All That Heaven Will Allow”, “Two Faces” and “When You’re Alone”; percussion on “Tougher Than the Rest”, “Spare Parts”, “Walk Like a Man”, “Tunnel of Love”, and “Brilliant Disguise”
Additional:
James Wood — harmonica on “Spare Parts”

Note
44kHz/16bit recordings (Sony PCM-1630), mastered to 96kHz/24bit.

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Artist: Bruce Springsteen
Title: Working On A Dream
Genre: Rock
Release Date: 2009/2010
Label: Columbia
Duration: 51:22
Quality: FLAC 44.1kHz/24bit
Source: HDTracks

At the end of the Magic sessions, Springsteen found himself still writing songs. Encouraged by producer Brendan O’Brien, he recorded during breaks on tour, exploring a classic pop sound for an album release coinciding with Super Bowl XLIII and the inauguration of President Barack Obama. Working on a Dream was Springsteen’s 16th studio album released under Columbia Records in 2009. The album reached number 1 on the Billboard 200, U.S. Rock albums and U.S. Digital Albums. The single, “The Last Carnival” pays tribute to E Street organist Danny Federici, who passed away in 2008.

From its bright, brittle production to its tossed-off postage stamp cover art, Working on a Dream is in every respect a companion piece to Magic, an album that’s merely a set of songs, both sprawling and deliberately small, songs that don’t necessarily tackle any one major theme but all add up to a portrait of their time. Magic chronicled the dog days of Bush where Working on a Dream is designed as a keynote to the Obama age, released just a week after the inauguration of the U.S.’s 44th president and not coincidentally containing not a little optimism within its 13 tracks. This sense of hope is a tonic to the despair that crept into the margins of Magic but it’s easy to posit Working on a Dream as pure positivity, which isn’t exactly true: a hangover from W lingers, most vividly in the broken spirit of “The Wrestler,” and Bruce mourning departed E Street Band member Danny Federici with “The Last Carnival.” Springsteen peppers his tribute with images recalling the early days of the E Street Band but saves a revival of their wild, woolly sound for the opening “Outlaw Pete,” a cavernous, circular, comical epic reminiscent of Springsteen’s unwieldy portraits of rats on the Jersey Shore. “Outlaw Pete” is Working on a Dream at its best, playing like nothing less than The E Street Shuffle as reflected and refracted through Arcade Fire’s naked hero worship, casually highlighting how producer Brendan O’Brien has gently nudged the Boss toward new musical avenues. Many of these new sounds are drawn from the past, often feeling informed by Little Steven’s Underground Garage — Van Zandt and Nils Lofgren’s guitars chime like the Byrds; the band knocks out a tough little blues number on “Good Eye”; and Springsteen shows a knack for pure pop on “Surprise, Surprise” and indulges his ever-increasing Brian Wilson fascination on “This Life,” whose percolating organs and harmonies rival the High Llamas. All this rests nicely alongside the Boss’ trademarks — galloping rockers that fill a stadium (“My Lucky Day”) and their polar opposite, his intimate acoustic tunes (“Tomorrow Never Knows”) — which all make Working on a Dream read like a rich, inventive, musical album…which it is, to an extent. The ideas and intent are there, but the album is hampered slightly by the overall modesty of Springsteen’s writing — by and large, these are small-scale songs and feel that way — and hurt significantly by the precise, digital production that muffles the music’s imagination and impact. A large part of Springsteen’s appeal has always been how the E Street Band has sounded as big and open as his heart, but Working on a Dream, like Magic before it, has a production that feels tiny and constrained even as it is layered with extraneous details. It’s possible to listen around this production and hear the modest charms of the songs, but the album would be better if the sound matched the sentiment.

Tracklist:
01 — Outlaw Pete
02 — My Lucky Day
03 — Working On A Dream
04 — Queen Of The Supermarket
05 — What Love Can Do
06 — This Life
07 — Good Eye
08 — Tomorrow Never Knows
09 — Life Itself
10 — Kingdom Of Days
11 — Surprise, Surprise
12 — The Last Carnival
13 — The Wrestler (Bonus Track)

Pesrsonal
The E Street Band
Bruce Springsteen — Lead vocals, guitars, harmonica, keyboards, percussion, glockenspiel
Roy Bittan — Piano, organ, accordion
Clarence Clemons — Saxophone, vocals
Danny Federici — Organ
Nils Lofgren — Guitars, vocals
Patti Scialfa — Vocals
Garry Tallent — Bass
Steven Van Zandt — Guitars, vocals
Max Weinberg — Drums

Additional musicians:
Soozie Tyrell — Violin, vocals
Patrick Warren — Organ, piano, keyboards
Jason Federici — Accordion

Produced by Brendan O’Brien

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Artist: Elvis Presley
Title: As Recorded at Madison Square Garden
Genre: Rock
Release Date: 1972/2013
Label: RCA/Legacy
Duration: 52:44
Quality: FLAC 96kHz/24bit
Source: HDTracks

Elvis: As Recorded at Madison Square Garden is the exhilarating live album by “The King.” Of all the live recordings in Elvis Presley’s illustrious career, none were more significant than his long-awaited New York City show at Madison Square Garden in June 1972. This multi-Platinum masterpiece captures Presley’s thrilling live energy and uncanny stage presence. Presley performed the chart-topping hits “Can’t Help Falling In Love,” “Love Me Tender,” “Heartbreak Hotel” and “All Shook Up”

This was one of several live recordings by “the King” to appear during the early ’70s and was extremely popular, owing to the quality of the performance and the range and number of songs included, as well as the timing of its release — older fans, having been denied Elvis Presley’s presence on stage for more than a decade, responded to his sudden re-emergence with more enthusiasm than they’d shown for any of his non-hits albums in years; and new listeners, too young to have heard him in the 1950s but latching onto Elvis either directly or as part of the oldies boom, started checking out what all of the excitement was about. The show itself, from June 10, 1972, is the more elaborately produced follow-up to his Las Vegas performances of 1969-1970, Elvis backed by an eight-piece band, an orchestra, and at least eight male and female backup singers (including the Sweet Inspirations) — once one gets past the opening fanfare of “Also Sprach Zarathustra,” there isn’t a lot of difference between this and the best of his Vegas shows, except that Elvis is a lot more confident and self-assured here than he is at the early post-“comeback” concerts. Emboldened by the success of those releases and the fact that he was able to sell out arenas like the Garden, RCA also did something here that they hadn’t taken the chance on doing with his previous live albums, loading it up with songs new and old, and also a generous 52 minutes’ running time. As with all of his shows of this era, the King interspersed his own established repertory — which embraced everything from “That’s All Right” to “Suspicious Minds” — with songs identified with other performers: “Proud Mary,” “You Don’t Have to Say You Love Me,” and “You’ve Lost That Lovin’ Feeling” were all very suitable for him. Presley was in good form for this show and, by all accounts, this series of concerts, and gave beautifully wrought performances of the ballads, as well as highly energetic renditions of the harder rocking numbers. The sound is surprisingly close, betraying little of the cavernous acoustic of Madison Square Garden — there is, conversely, very little audience ambience as well, but that’s not terribly important, either; much more to the point is that the accompaniment, from James Burton’s guitar on down, is all captured reasonably well, thus making this one of the best of the big-venue Elvis Presley concert documents available: exciting, diverting, and mostly impressive as a performance. The American CD reissue is decent enough, and a mid-priced bargain, but the 2001 vintage Japanese 24-bit/96k digital remastering has to be heard to be believed.

Tracklist:
01 — Introduction: Also Sprach Zarathustra (Theme From 2001: A Space Odyssey)
02 — That’s All Right
03 — Proud Mary
04 — Never Been To Spain
05 — You Don’t Have To Say You Love Me
06 — You’ve Lost That Lovin’ Feelin’
07 — Polk Salad Annie
08 — Love Me
09 — All Shook Up
10 — Heartbreak Hotel
11 — Medley
12 — Love Me Tender
13 — The Impossible Dream (The Quest)
14 — Introductions by Elvis
15 — Hound Dog
16 — Suspicious Minds
17 — For The Good Times
18 — American Trilogy
19 — Funny How Time Slips Away
20 — I Can’t Stop Loving You
21 — Can’t Help Falling In Love
22 — End Theme (Orchestra)

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Artist: Elvis Presley
Title: Elvis At Stax
Genre: Rock
Release Date: 2013
Label: RCA/Legacy
Duration: 54:31
Quality: FLAC 96kHz/24bit
Source: HDTracks

Elvis At Stax celebrates the fortieth anniversary of these legendary recordings. Following the success of Elvis: Aloha From Hawaii via Satellite, Presley returned to his hometown of Memphis and spent time at Stax Recording Studios. Elvis At Stax bristles with energy and dynamism. Included are the hits “Promised Land,” “Raised on Rock,” “I’ve Got a Thing About You Baby,” “My Boy” and much more.

The title “Elvis at Stax” is slightly misleading, suggesting Elvis Presley decided to set up shop at the famed Memphis recording studio so he could use their house band, or perhaps co-opt some of the Southern soul groove. That wasn’t the case. Elvis chose the Stax studios to conduct several recording sessions in 1973 for a simple reason: it was close to his Memphis home. He rented out the studio twice, once in July and once in December, and brought in his crack backing band, recording enough material to fill out three CDs. This music was doled out over the years, accounting for five hit singles over three years (a B-side and a posthumous single also came from these sessions), along with three albums: 1973’s Raised On Rock, 1974’s Good Times, and 1975’s Promised Land. These albums were all strong, but aren’t often considered part of Presley’s core canon, possibly because this mid-’70s run of records were often packaged like product (certainly there’s not a memorable album cover among them), possibly because, apart from “Promised Land,” there were no hit singles that could be called a true smash or part of his core canon. And that’s why Elvis at Stax is so valuable: taken as a whole, these 1973 sessions are revealed as his last great blast of creativity in the recording studio. Essentially, he was working the same ground he began to plow on his 1968 comeback, but the aftershocks of Elvis Country are apparent, along with just the slightest hint of funky, organ-driven grooves. In this context, the preponderance of alternate takes are not tedious, but rather show Elvis’ good humor and creativity as he tries out slightly different approaches on each take. What impresses is Presley’s virtuosity and how he cannily constructed his performances to seem effortless: there’s sweat fueling these tight, punchy renditions, and heart behind his ballads, and you can hear him work it all out on the alternate takes, then reach full flight on the finished masters.

Tracklist:
01 — Promised Land
02 — I’ve Got A Thing About You Baby
03 — If You Talk In Your Sleep
04 — Raised On Rock
05 — Help Me
06 — I Got A Feelin’ In My Body
07 — For Ol’ Times Sake
08 — Talk About The Good Times
09 — Good Time Charlie’s Got The Blues
10 — You Asked Me To
11 — Loving Arms
12 — Your Love’s Been A Long Time Coming
13 — Spanish Eyes
14 — It’s Midnight
15 — Find Out What’s Happening
16 — Three Corn Patches
17 — My Boy

Note
Produced for Reissue by Rob Santos & Ernst Mikael Jorgensen.
Tracks 6-14 and 16-17 Mixed by Steve Rosenthal and Rob Santos at The Magic Shop, New York, NY.
Mastered by Vic Anesini at Battery Studios, New York, NY.

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Artist: Elvis Presley
Title: Elvis Golden Records, Vol. 3
Genre: Rock
Release Date: 1963/2015
Label: RCA Victor
Duration: 29:58
Quality: FLAC 96kHz/24bit
Source: Qobuz
Recorded: March 20, 1960 – March 19, 1962

Elvis’ Golden Records Volume 3 is a greatest hits album by the American rock and roll singer Elvis Presley, released by RCA Victor as LPM-2765 on August 11, 1963. The record was the third volume of a five volume collection. It is a compilation of hit singles released in 1960, 1961, and 1962.

The original Elvis’ Golden Records, Vol. 3 was, like its predecessors, an unprecedented release — no one in rock & roll up to that point, other than Elvis, had ever legitimately earned a second greatest-hits volume, much less a third. This is also the place where the legitimately softer, more mature Presley replaces the angry young Elvis represented on the first two volumes. On a sexual level, songs like “Stuck on You,” “It’s Now or Never,” “Fame and Fortune,” “I Gotta Know,” and “Surrender” offer seduction rather than diverting violation. He might no longer have been a rebel, but as represented on the original ten songs of this album, he was still making the Top Five and even the top of the charts regularly with work that was legitimately fine early-’60s rock & roll and pop/rock. “His Latest Flame” or “Good Luck Charm” might not have been groundbreaking musical statements of the caliber of “Heartbreak Hotel” or “Blue Suede Shoes,” but in Elvis’ hands they were worth hearing over and over. The original 12 songs have been augmented by six more, including “Can’t Help Falling in Love” (which should have been on this disc to begin with) and the hauntingly beautiful “Girl of My Best Friend,” which was a number two hit in England (and may be the prettiest song Elvis ever cut), plus “Wild in the Country” and “Wooden Heart” (a hit in Europe) from G.I. Blues. The producers have stuck with the most tasteful and intriguing numbers from the films, within the time frame of the original release, the annotation is thorough, and the 1997 remastered sound runs circles around all prior editions. –Bruce Eder

Tracklist:
1 It’s Now Or Never 3:19
2 Stuck On You 2:23
3 Fame & Fortune 2:34
4 I Gotta Know 2:19
5 Surrender 1:57
6 I Feel So Bad 2:57
7 Are You Lonesome Tonight 3:10
8 (Marie’s The Name Of) His Latest Flame 2:11
9 Little Sister 2:35
10 Good Luck Charm 2:29
11 Anything That’s Part Of You 2:08
12 She’s Not You 2:08

Pesrsonal
Elvis Presley — vocals, acoustic guitar
Scotty Moore — guitar
Hank Garland — guitar, bass
Tiny Timbrell, Neal Matthews, Harold Bradley, Jerry Kennedy — guitar
Floyd Cramer — piano, organ
Gordon Stoker, Dudley Brooks — piano
Bob Moore, Ray Siegel, Meyer Rubin — bass
D.J. Fontana, Buddy Harman, Hal Blaine — drums
Boots Randolph — saxophone
Jimmie Haskell — accordion
The Jordanaires, Millie Kirkham — backing vocals

Download:

https://file.al/mqzgh21c5h3b/hires.link_ElvisPresleyElvisGldenRecrdsVl.319639624.rar.html

Artist: Elvis Presley
Title: Elvis Is Back
Genre: Rock
Release Date: 1960/2015
Label: RCA Victor
Duration: 32:11
Quality: FLAC 96kHz/24bit
Source: Qobuz
Recorded: March-April 1960, RCA Studio B, Nashville, Tennessee

Elvis Is Back! is the eighth studio album by Elvis Presley. It was released on RCA Victor Records in mono and stereo in April 1960. Recorded over two sessions in March and April, the album marked Presley’s return to recording after his discharge from the U.S. Army.

In 1957, as Presley’s fame was soaring, he received a draft notice from the Memphis Draft Board, but was given a deferment so he could finish his latest film production, King Creole. During Presley’s two-year military service in Germany, RCA Victor and Paramount Pictures progressively released material he had completed prior to enlistment. During his last months in the Army, Presley experimented with new sounds and worked on further improving his performance. He also prepared material for his first session in Nashville, which was scheduled to take place upon his return. Presley returned to the United States on March 2, 1960. The singer reunited with his original band The Blue Moon Boys, excepting bassist Bill Black. The first session was held on March 20–21 and the second session was held on April 3–4, completing the album.

Elvis Is Back! was released on April 8, 1960. The album topped the UK Albums Chart and reached number two in Billboard’s Top Selling LP’s. Initially, the release received mixed reviews. Throughout the years the album’s critical reception became progressively more positive, while it was certified Gold by the Recording Industry Association of America in 1999.

Although they have common recording origins, two of the three singles, “It’s Now or Never” and “Are You Lonesome Tonight,” were very quirky by the standards of Elvis songs at the time — the former inspired by Elvis’s admiration for Tony Martin’s 1949 hit “There’s No Tomorrow,” while the latter was recorded at the request of Col. Parker as a favor to his wife. They add to the diversity of sounds on this record, which shows a mature Elvis Presley. “Dirty, Dirty Feeling” and “It Feels So Right” showed he could still rock out and challenge authority and propriety, while “Reconsider Baby” and “Like a Baby” offer some of his best blues performances; but “The Thrill of Your Love” (a very gospel-tinged number), “Soldier Boy,” “Girl of My Best Friend,” and “Girl Next Door Went a’ Walking,” also displayed the rich, deep vocalizing that would challenge critics’ expectations of Elvis Presley playing rhythm guitar throughout. He also comes off better than on any of his other albums since arriving at RCA, as a musician as much as a “star” (he’d always had a lot more to say about running his sessions than the critics who loathed his RCA years indicated). –Bruce Eder

Tracklist:
1 Make Me Know It 2:02
2 Fever 3:22
3 The Girl Of My Best Friend 2:19
4 I Will Be Home Again 2:33
5 Dirty, Dirty Feeling 1:32
6 Thrill Of Your Love 3:00
7 Soldier Boy 3:04
8 Such A Night 2:58
9 It Feels So Right 2:08
10 The Girl Next Door Went A’Walking 2:12
11 Like A Baby 2:39
12 Reconsider Baby 3:38

Pesrsonal
Elvis Presley — vocals, acoustic guitar
Scotty Moore — electric guitar
Hank Garland — electric guitar, electric bass
Floyd Cramer — piano
Bob Moore — double bass
Scotty Moore — electric guitar
Hank Garland — electric guitar, electric bass
Floyd Cramer — piano
Bob Moore — double bass
D. J. Fontana, Buddy Harman — drums
The Jordanaires — backing vocals
Boots Randolph — saxophone
Charlie Hodge — backing vocals (on “I Will Be Home Again”)

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Artist: Elvis Presley
Title: From Elvis In Memphis
Genre: Rock
Release Date: 1969/2015
Label: RCA/Legacy
Duration: 36:30
Quality: FLAC 96kHz/24bit
Source: HighResAudio

From Elvis in Memphis was released in June 1969 to favorable reviews. It was recorded at American Sound Studio in Memphis in January and February 1969 under the direction of producer Chips Moman and backed by its house band, informally known as “The Memphis Boys”. The album peaked at number 13 on the Billboard 200, number two on the country charts and number one in the United Kingdom, and its single “In the Ghetto” reached number three on the Billboard Hot 100. The album was certified gold by the Recording Industry Association of America in 1970. In later years, it garnered further favorable reviews, while it was ranked number 190 on Rolling Stone magazine’s 2003 list of the 500 greatest albums of all time.

After a 14-year absence from Memphis, Elvis Presley returned to cut what was certainly his greatest album (or, at least, a tie effort with his RCA debut LP from early 1956). The fact that From Elvis in Memphis came out as well as it did is something of a surprise, in retrospect — Presley had a backlog of songs he genuinely liked that he wanted to record and had heard some newer soul material that also attracted him, and none of it resembled the material that he’d been cutting since his last non-soundtrack album, six years earlier. And he’d just come off of the NBC television special which, although a lot of work, had led him to the realization that he could be as exciting and vital a performer in 1969 as he’d been a dozen years before. And for what was practically the last time, the singer cut his manager, Tom Parker, out of the equation, turning himself over to producer Chips Moman. The result was one of the greatest white soul albums (and one of the greatest soul albums) ever cut, with brief but considerable forays into country, pop, and blues as well. Presley sounds rejuvenated artistically throughout the dozen cuts off the original album, and he’s supported by the best playing and backup singing of his entire recording history.

Tracklist:
01 — Wearin’ That Loved On Look
02 — Only the Strong Survive
03 — I’ll Hold You In My Heart (Till I Can Hold You In My Arms)
04 — Long Black Limousine
05 — It Keeps Right On A-Hurtin’
06 — I’m Movin’ On
07 — Power of My Love
08 — Gentle On My Mind
09 — After Loving You
10 — True Love Travels On a Gravel Road
11 — Any Day Now
12 — In the Ghetto

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Bruce Springsteen – Born In The U.S.A. (1984/2014) [Rock, HDTracks, FLAC 96kHz/24bit]

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Bruce Springsteen – High Hopes (2014) [Rock, HDTracks, FLAC 44.1kHz/24bit]

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Elvis Presley – As Recorded at Madison Square Garden (1972/2013) [Rock, HDTracks, FLAC 96kHz/24bit]

Elvis Presley – Elvis At Stax (2013) [Rock, HDTracks, FLAC 96kHz/24bit]

Elvis Presley – Elvis Golden Records, Vol. 3 (1963/2015) [Rock, Qobuz, FLAC 96kHz/24bit]

Elvis Presley – Elvis Is Back (1960/2015) [Rock, Qobuz, FLAC 96kHz/24bit]

Elvis Presley – From Elvis In Memphis (1969/2015) [Rock, HighResAudio, FLAC 96kHz/24bit]