| Born in the U.S.A. | ||||
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| Studio album by | ||||
| Released | June 4, 1984 (1984-6-4) | |||
| Recorded | January 1982 – March 1984 | |||
| Studio | Power Station andHit Factory (New York City) | |||
| Genre | ||||
| Length | 46:41 | |||
| Label | Columbia | |||
| Producer |
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| Bruce Springsteen chronology | ||||
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| Bruce Springsteen and theE Street Band chronology | ||||
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| Singles from Born in the U.S.A. | ||||
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Born in the U.S.A. is the seventh studio album by the American singer-songwriterBruce Springsteen, released on June 4, 1984, byColumbia Records. Produced by Springsteen,Jon Landau,Steven Van Zandt, andChuck Plotkin, the album was recorded in New York City with theE Street Band over two years between January 1982 and March 1984. Some of the songs originated from the demo tape that yielded Springsteen's previous album, the solo effortNebraska (1982), while others were written afterward. The sessions yielded between 70 and 90 songs; some were released asB-sides, some later saw release oncompilation albums, while others remain unreleased.
Born in the U.S.A. has a morepop-influenced sound than Springsteen's previous albums. Its production is typical of mainstream 1980s rock music, with prominent use ofsynthesizers. The lyrics contrast with the album's livelier sound and continue the themes of previous records, particularlyNebraska. Topics include working-class struggles, disillusionment, patriotism, and personal relationships, while some tracks incorporate humorous lyrics. The cover photograph of Springsteen from behind against a backdrop of theAmerican flag has appeared on lists of the best album covers ever.
Accompanied by a vast promotional campaign that featured sevensingles, fivemusic videos, and three danceremixes,Born in the U.S.A. was a massive commercial success, becoming the best-selling album of 1985 and topping the charts in nine countries, including the United States and the United Kingdom. All seven of its singles, including "Dancing in the Dark", "Born in the U.S.A.", "I'm on Fire", and "Glory Days", reached the U.S. top ten. The album has sold over 30 million copies worldwide, making it Springsteen's best-selling album and one ofthe best-selling albums of all time. Upon its release, music critics praised the album's storytelling and musical performances, while others criticized the use of similar lyrical themes as Springsteen's previous albums. Springsteen and the E Street Band supported the album on theBorn in the U.S.A. Tour.
Born in the U.S.A. transformed Springsteen into a worldwide superstar and brought him his largest amount of success to date as a recording and performing artist. He later expressed reservations about the album itself and the fame it brought him; its success influenced his career path for the rest of the 1980s and 1990s.Born in the U.S.A. helped popularize Americanheartland rock and influenced later artists who wanted to mimic its power and impact. In later decades, publications such asRolling Stone andNME rankedBorn in the U.S.A. one of the best albums by Springsteen,of the 1980s, and of all time. It was inducted into theGrammy Hall of Fame in 2012.
Following the conclusion ofthe River Tour in September 1981,Bruce Springsteen rented a ranch inColts Neck, New Jersey.[1][2] While there, he spent time writing new material,[2] including a song called "Vietnam", about aVietnam veteran returning home from the war to an unenthusiastic response.[3] During the tour, Springsteen readBorn on the Fourth of July, a 1976autobiography byRon Kovic, ananti-war activist who was wounded and paralyzed during theVietnam War.[4][5] Kovic's story inspired Springsteen to meet various Vietnam veterans in Los Angeles, California, which in turn inspired the writing of several tracks that centered on or included themes about the Vietnam War:[2] "Vietnam", "Shut Out the Light", "A Good Man Is Hard to Find (Pittsburgh)", "Highway Patrolman", and "Brothers Under the Bridges".[6]
As Springsteen continued developing "Vietnam", the directorPaul Schrader asked him to write music for an unmade film calledBorn in the U.S.A. The screenplay concerned a Cleveland factory worker who works during the day and plays guitar in a bar band at night.[7] Springsteen revised the lyrics and music of "Vietnam", using the film's title to create "Born in the U.S.A."[8][9][10][11] Schrader eventually made the film but retitled itLight of Day, which was released in 1987;[11] Springsteen provided itstitle song.[8][9]
Using afour-track tape recorder purchased by his guitar technician Mike Batlan, Springsteendemoed tracks he had written during that period in the bedroom of his Colts Neck home between December 17, 1981, and January 3, 1982.[12][13][14] These included "Born in the U.S.A.", "Nebraska", "Atlantic City", "Mansion on the Hill", "Downbound Train", and "Child Bride".[12] Springsteen intended to rerecord the Colts Neck demos with theE Street Band –Roy Bittan (piano),Clarence Clemons (saxophone),Danny Federici (organ),Garry Tallent (bass),Steven Van Zandt (guitar), andMax Weinberg (drums) – during sessions booked to begin in April 1982 at thePower Station in New York City,[15] whereThe River (1980) had been recorded.[16] From February to March, Springsteen demoed more tracks, including "Wages of Sin", "Your Love is All Around Me", "Baby I'm So Cold", and "Fade to Black".[17]
In late January 1982, weeks after recording the demos in Colts Neck, Springsteen and the E Street Band were atthe Hit Factory in New York City recording a session forGary U.S. Bonds' albumOn the Line, for which Springsteen had written seven songs and was co-producing with Van Zandt.[18][19][20] During the session, the band recorded "Cover Me", a song Springsteen had written forDonna Summer. His manager-producerJon Landau convinced Springsteen to keep it for his next album after hearing the finished recording;[21][22] Springsteen subsequently wrote Summer another song, "Protection",[19] and likewise recorded a version of that song with the E Street Band.[23]
In April, Springsteen and the E Street Band regrouped at the Power Station to record the demos as full-band versions for release on the next album.[15][24] Production was handled by Springsteen, Landau, Van Zandt, andThe River's mixerChuck Plotkin, while Toby Scott returned from the Hit Factory sessions asengineer.[25] The band spent two weeks attempting full-band arrangements of the Colts Neck tracks, including "Nebraska", "Johnny 99", and "Mansion on the Hill", but Springsteen and his co-producers were dissatisfied with the recordings.[24][26][27] Plotkin has described the performances with E Street as "less meaningful ... less compelling ... less honest" than the demo recordings.[28]
Other songs from the tape, including "Born in the U.S.A.", "Downbound Train", "Child Bride" (now rewritten as "Working on the Highway"), and "Pink Cadillac", proved successful in full-band arrangements.[29] According to the authorDave Marsh, the night the band recorded "Born in the U.S.A." was when "they knew they'd really begun making an album."[30] Over the next few weeks into May,[30] the band's productivity increased as they recorded material absent from the Colts Neck tape, including "Darlington County",[a] "Frankie", "Glory Days", "I'm Goin' Down", "I'm on Fire", "Johnny Bye-Bye", "Murder Incorporated", "My Love Will Not Let You Down", "A Good Man Is Hard to Find (Pittsburgh)", "This Hard Land", "None but the Brave", and "Wages of Sin".[b][29][32][33] as well as a new recording of "Cover Me".[c][35] According to Weinberg, these sessions featured little rehearsal as the band went through songs without knowing them fully, often in less than five takes.[36]
Despite the band's productivity and excitement about the recorded material, Springsteen remained focused on the rest of the Colts Neck songs.[37] Realizing the tracks would not work in full-band arrangements, he decided to release the demos as is.[38][39] Springsteen briefly considered releasing adouble album of acoustic and electric songs before deciding to release the acoustic ones on their own to give them "greater stature".[d][42] The album,Nebraska, was released in September 1982.[43] It featured nine songs from the original demo tape,[44] and "My Father's House", recorded at Colts Neck in late May.[45] The album sold well,[46] reaching number three in the U.S. and the U.K. charts.[47] According to the pop culture scholar Gillian G. Gaar, music critics praised the album as "a brave artistic statement".[48] Springsteen himself did not promote the album; he conducted no interviews and, for the first time after an album release, did not tour,[49][50] instead vacationing on a cross-country road trip to California.[51]
In late 1982, Springsteen and Batlan constructed an eight-track studio in the former's new Los Angeles home. There, he spent time recording new demos that were stylistically similar to theNebraska tracks,[25][50][52] albeit with adrum machine.[53] Songs demoed from January to April 1983 included "Shut Out the Light", "Johnny Bye-Bye", "Cynthia", "Unsatisfied Heart", "Sugarland", "The Klansman", "My Hometown", "Delivery Man", and "Follow That Dream", a reworking of the 1962Elvis Presley single of the same name.[e] Like theNebraska tracks, Springsteen felt the new material would not work in a band setting; he considered but ultimately dismissed releasing another solo acoustic album.[48][54][58] During this period, Springsteen made numerous lifestyle changes, including therapy and working on his physique with aweight-training program.[51][54][59] At the end of April, he departed California and traveled back to New York to record more material with the E Street Band.[54]
Springsteen and the E Street Band resumed recording at the Hit Factory between May and June 1983.[25] These sessions featured re-recordings of solo material Springsteen had recently demoed ("Cynthia" and "My Hometown"), as well as work on other tracks such as "Pink Cadillac", "Car Wash", "TV Movie", "Stand on It", and "County Fair".[60][61] These were the first sessions without Van Zandt, who departed the E Street Band in June the year prior and had started a solo career, performing under the name Little Steven.[62][63] According to the author Fred Goodman, Van Zandt departed due to personal clashes with Landau,[64] although other sources state Van Zandt had felt trapped in the E Street Band and was ready to perform solo.[62][65] By the summer of 1983, Van Zandt was touring supporting his second solo album,Voice of America.[51][66] Springsteen's friendship with Van Zandt inspired the writing of two new songs, "Bobby Jean" and "No Surrender".[67]
By July 1983, Springsteen and his co-producers had over fifty tracks to choose from for the album,[68] tentatively titledMurder Incorporated.[f][48] The recorded tracks encompassed numerous styles, including R&B ("Lion's Den", "Pink Cadillac"), rockabilly ("Stand on It", "Delivery Man"), hard rock ("Murder Incorporated", "My Love Will Not Let You Down"), and country and folk ("This Hard Land", "County Fair", "None but the Brave").[71] At the end of July, Springsteen asked Plotkin to develop a rough mix of the album that included "Born in the U.S.A.", "Glory Days", "My Hometown", "Downbound Train", "Follow That Dream", "Shut Out the Light", "My Love Will Not Let You Down", and "Sugarland".[68][69] Plotkin dismissed the tentative list as "a conceptual mess"; he felt the album should begin with "Born in the U.S.A.", end with "My Hometown", and include "Working on the Highway" and "I'm on Fire".[71]
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With Springsteen still unsatisfied with the album, recording continued into the new year.[25][60] Mixing began around this time byBob Clearmountain, who had mixedThe River's "Hungry Heart".[60][72] In October 1983, the band recorded "Bobby Jean" and "No Surrender",[73] while November yielded "Brothers Under the Bridge"[68] and more unreleased songs, including "Shut Down" and "100 Miles From Jackson".[74] At this point, Landau had grown tired of the prolonged recording sessions but remained supportive of Springsteen's vision.[75] By December, Springsteen and his co-producers had tentatively settled on "Born in the U.S.A.", "Glory Days", "Downbound Train", and "This Hard Land" as final choices for the album.[68]Born in the U.S.A. was decided as the album title by January 1984.[76] The same month, the band recorded "Rockaway the Days" and "Man at the Top".[75][77]
In February,[72] Landau felt the album was still missing alead single that would introduce Springsteen to a new pop audience. After an initial disagreement about the need for another song, Springsteen came in the next day with "Dancing in the Dark" written;[78][79][80] it was recorded shortly after.[81] The sessions ended in March.[82] Springsteen struggled with the final track-list, but was convinced by Landau and Plotkin to stick with a selection of material largely from the May 1982 sessions.[58] He explained in his 2016 autobiographyBorn to Run: "By that time, I'd recorded a lot of music ... But in the end, I circled back to my original groups of songs. There I found a naturalism and aliveness that couldn't be argued with. They weren't exactly what I'd been looking for, but they were what I had."[83] Eleven songs were selected by April.[84] When Van Zandt heard about the final track listing, he urged Springsteen to include "No Surrender",[64][85] as he felt it acted as a bridge between Springsteen's earlier and current works.[84] Springsteen complied, bringing the final track count to twelve.[82][86] The album wasmastered byBob Ludwig atMasterdisk in New York City.[87]
After over two years of recording, theBorn in the U.S.A. sessions yielded between 70 and 90 songs.[25][88] Five were released asB-sides between 1984 and 1985: "Pink Cadillac", "Shut Out the Light", "Johnny Bye-Bye", "Stand on It", and "Janey, Don't You Lose Heart". All five later appeared on the 1998compilation albumTracks.[89] Otherouttakes that appeared onTracks included "A Good Man Is Hard to Find (Pittsburgh)", "Wages of Sin", "Cynthia", "My Love Will Not Let You Down", "This Hard Land", "Frankie", "TV Movie", "Lion's Den", "Car Wash", "Rockaway the Days", "Brothers under the Bridge" (titled "Brothers Under the Bridges '83"), and "Man at the Top".[90][91] "Murder Incorporated" was later released onGreatest Hits (1995),[92] while "County Fair" and "None but the Brave" appeared on the limited edition bonus disc ofThe Essential Bruce Springsteen (2003).[93] Songs recorded in Springsteen's Los Angeles home in early 1983 that previously appeared onbootlegs[94] will be officially released in June 2025 as part of the box setTracks II: The Lost Albums. TitledLA Garage Sessions '83, these include "Sugarland", "Richfield Whistle", "Don't Back Down", "Follow That Dream", "Fugitive's Dream", "Seven Tears", "One Love", and "The Klansman".[95]
Born in the U.S.A. is arock and roll,[96][97][98]heartland rock,[99] andpop album,[51][100] with elements offolk androckabilly.[101] The album's sound and production have been described as characteristic of mid-1980s mainstream rock, featuring prominent synthesizers, "slamming" guitars, "massive" drums, and "front-and-center" vocals.[g] Some critics noted in 1984 that Springsteen inputted various electronictextures into the album but remained true to his traditional rock and roll roots.[96][106] The author Geoffrey Himes has written that the album was unified by "pop pleasure"; songs such as "Born in the U.S.A.", "Glory Days", "Dancing in the Dark", "I'm Goin' Down", and "I'm on Fire" wereearworms, featuring melodies and rhythms that "resonated with emotions as basic as lust, loneliness, anger, and yearning and gave them shape".[107] Most of the songs are built around only two or threechords.[96]
MyBorn in the U.S.A. songs were direct and fun and stealthily carried the undercurrents ofNebraska.[108]
Contrasting with the album's livelier sound,Born in the U.S.A. continues several of the lyrical themes from Springsteen's previous records, particularlyNebraska.[103][104] The authorPeter Ames Carlin has written thatBorn in the U.S.A. "filtered the dystopian gloom of theNebraska songs into the living world of love, work, and the hobbled pursuit of happiness."[76] Springsteen's characters are married, in their mid-'30s, and dealing with parenthood and recession.[109] ForAllMusic's William Ruhlmann, the album is anapotheosis for Springsteen's reoccurring characters, where for the first time ever, the characters "really seemed to relish the fight and to have something to fight for". Following their journeys through Springsteen's first six albums, from being "romantic young boys" to living "the working life" to "fac[ing] despair" onNebraska, the characters on his seventh album were alive "with their sense of humor and their determination intact".[110] Like Ruhlmann, onBorn in the U.S.A. other critics have likewise heard humor,[97][99][106][111] or optimism: forConsequence of Sound's Gabriel Fine, the album seems to argue that "one can both love America and rage against its brokenness".[99] By contrast, the main theme throughoutBorn in the U.S.A. forStephen Holden is "the decline of small-town working class life in a post-industrial society".[96] Holden noted that against the mostly upbeat music is "a sad and serious album about the end of the American dream – of economic hope and security, and of community – for a dwindling segment of our society."[96]
"Born in the U.S.A." is an energetic, rock and roll song driven by synthesizer and pounding drums.[82][112][113] A protest song,[112][114][115] it dissects the cruel mistreatment of Vietnam veterans upon their return home after the war.[82][99] The song's message is widely regarded as misunderstood,[85][116] as many Americans, including presidentRonald Reagan, interpreted it as a patriotic anthem;[112][114][117] several critics also noted how the song could be misconstrued in favor ofjingoism.[51][99][118] Margotin and Guesdon discuss the juxtaposition of the verses, which express "the somber reality of a soldier", with the chorus, which "loudly and proudly proclaims the glory of American civilization".[114] AllMusic's Mike DeGayne argued that while the song would have been effective as an acoustic ballad, similar to "My Hometown" orNebraska's "Atlantic City", "it's the fervor and the might of Springsteen in front of a bombastic array of guitar and drums that help to drive his message home".[112]
"Cover Me" is a straightforward rock song,[85] with elements of pop,[82]disco,[115] andfunk.[19] Lyrically, it describes a love story wherein the narrator, suffering frompost-traumatic stress disorder, pleas for his lover to stay with him and protect him from the outside world.[19][85] "Darlington County" is an upbeat rock song that some critics compared to the music ofCreedence Clearwater Revival.[82][119] It tells the story of two New York friends who embark on a road trip. They come toDarlington, South Carolina to work, but end up spending much of their time with women.[85][119][120] The authorRob Kirkpatrick said the song was "steeped in countrified blue-collarism".[120]
"Working on the Highway" is a rockabilly track[82][121] that sets upbeat music against more downbeat lyrics.[97] It tells the story of a man who runs away to Florida with an underage girl against her father's wishes. When he gets there, he gets arrested and sentenced to forced labor on a highway.[122][123] Originally "Child Bride" from theNebraska demo tape, the final track retains the same story and several lines from the original lyrics.[121]
"Downbound Train" is a minimalist rock ballad featuring a synthesizer.[99][124] Called the album's saddest song byBillboard's Caryn Rose,[85] the lyrics include themes of disillusionment and loss.[124] It follows a man who has lost everything:[96] after being laid off from his lumberyard job, his wife leaves him, after which he struggles to make a living working at a car wash. Distressed, he dreams of his now ex-wife.[120][124] The song's narrator is similar to the ones onNebraska and "Stolen Car" fromThe River. "Downbound Train" originated from aNebraska demo called "Son You May Kiss the Bride".[120]
"I'm on Fire" is a minimalist[125] ballad whose instrumentation consists of picked guitar, synthesizer, and brushed drums.[82] Musically inspired byJohnny Cash,[125] the song is an ode to adulterous lust,[126] in which the narrator expresses an obsessive and uncontrollable desire for the heroine.[115][125] Analyzing the song's placement in the track listing at the end of side one, Fine wrote that the song leaves "a hushed, solemn interlude in the center of a mostly upbeat, ebullient album", further arguing that "it seems symbolic, both structurally and musically, as if marking a turning point in Springsteen's career from middle-America heartland rocker to synth- and dance-influenced mainstream star."[99]
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"No Surrender" is an upbeat[82] 1950s/1960s-style rock song with a "dense, rich, and heavy sound".[127] Lyrically, the song is a statement of friendship,[85] freedom,[127] and "youthful defiance with allusions to blood brotherhood and forced warlike metaphors".[64] The song is complemented by "Bobby Jean", another song about friendship.[67][96][128] In it, the narrator visits the childhood home of the title character, causing his memories of them to come back in a nostalgic tone.[129] Commentators have interpreted the title character's gender as intentionally ambiguous and could refer to the name of any close friend the singer had known since he was a teenager.[51][64] Musically, it is a rock and roll[130] ballad[85] with an accented rhythm and near-dance groove.[131] Both "No Surrender" and "Bobby Jean" have been described as tributes to Steven Van Zandt and his friendship with Springsteen.[51][129]
"I'm Goin' Down" is a rock song[132] with elements of rockabilly.[97][133] Its upbeat music contrasts with the lyrics, which tell a melancholic story about a couple on the verge of a break-up.[85][115][117] The narrator's girlfriend has lost her passion and turned to indifference.[134] "Glory Days" is an energetic synth-rock song that follows a protagonist speaking with old high-school classmates – a former baseball star and a popular girl now divorced with two kids – in a bar reflecting on the "glory days" of their youth with sadness.[85][135][136][137] It was partially based on a true story of Springsteen meeting an old friend at a bar who had had the potential to become a professional baseball player in the early 1970s.[136] Some commentators have argued the song opposesnostalgia rather than embracing it, as the protagonist pities the former high-school heroes.[115][135]
"Dancing in the Dark" is an upbeatsynth-pop anddance-rock song led by synthesizer.[h] Its protagonist struggles with life – he is bored with himself, cannot look at himself in a mirror, and feels trapped – and wants to change his daily routine by finding a spark that will reignite his imagination.[81][138] Kirkpatrick has argued the song examines its author's creative process, showing Springsteen struggling to live up to expectations as both a songwriter and a performer.[138] The song ends with a jazzy saxophone solo from Clemons.[81]
"My Hometown" is a folk ballad[82] driven by a synthesizer.[51][139] Throughout its four verses, the narrator grows from child to adult and experiences hardship living in his hometown.[140] Based on Springsteen's personal experiences in his own hometown growing up in the 1960s,[139] the song returns to the social issues present throughout the album's first side, with themes centered on working-class life, racial tensions, violence, and economic strife.[51][140][141]Pitchfork's Sam Sodomsky has argued the song "captures what 'Born in the U.S.A.' failed to: the tragedy of the American dream, the brutality and injustice that is fundamental to American citizenship, and the complicated, intractable love for one's home that still manages to take root in the midst of it all."[51]
The cover photograph depicts Springsteen standing with his back to the camera against the stripes of anAmerican flag. He is wearing a white T-shirt and jeans, with a red baseball cap tucked into his right back pocket; the cap belonged to the recently deceased father of Springsteen's friend Lance Larson.[62] Springsteen has said that the flag was included on the cover because the first track was called "Born in the U.S.A." and the record's overarching theme reflected his writing of the past six or seven years.[25][142] It was initially controversial; some commentators believed Springsteen was urinating on the flag,[51] which Springsteen asserted was inaccurate, tellingKurt Loder inRolling Stone that "the picture of my ass looked better than the picture of my face" and that there was no "secret message".[143] The cover, designed by Andrea Klein,[87] is one of a small number of Springsteen's studio album covers to not feature his face, alongsideGreetings from Asbury Park, N.J. (1973),Nebraska,Human Touch (1992),The Ghost of Tom Joad (1995), andWestern Stars (2019).[144]
The photograph was taken by the rock photographerAnnie Leibovitz,[142] formerly of the magazinesRolling Stone andVanity Fair.[62] Leibovitz herself did not like the photo, referring to it as a "grab shot".[144] Other photographs shot by Leibovitz were used for other promotional materials, such as the "Dancing in the Dark" single cover (capturing Springsteen jumping mid-air wearing a blue shirt, black leather jacket, and black pants) and the Born in the U.S.A. Tour's program (depicting Springsteen jumping in front of the American flag yielding a guitar in aPete Townshend-like windmill pose).[144]
The inside of the sleeve contains a black-and-white photograph of Springsteen, another of him with the E Street Band, and song lyrics.[25] The sleeve also includes Springsteen's farewell words to Van Zandt written in Italian:Buon viaggio, mia fratello, Little Steven ("Safe travels, my brother, Little Steven").[62] The cover has appeared onBillboard andRolling Stone's lists of the 100 best album covers of all time at numbers 31 and 42, respectively.[145][146]
Columbia Records releasedBorn in the U.S.A. on June 4, 1984.[85][147][148] The album was the firstcompact disc manufactured in the United States for commercial release.[82] It was manufactured byCBS (Columbia's international distributor) andSony Music at their newly opened plant,Digital Audio Disc Corporation, inTerre Haute, Indiana in September; Columbia's CDs were previously manufactured in Japan.[82][149]
Born in the U.S.A. debuted at number nine on the U.S.Billboard Top 200 Albums chart during the week of June 23, 1984,[150] topping the chart two weeks later on July 7.[151] It stayed in the top 10 for 84 consecutive weeks and on the chart itself for almost three years.[152][153] It was also a commercial success in Europe and Oceania. In the United Kingdom, the album entered theUK Albums Chart at number two on June 16, and after thirty-four weeks, on February 16, 1985, it reached number one and topped the chart for five non consecutive weeks;[154] it was present on the chart for 135 weeks.[154] It also topped the album charts in Australia, Austria, Germany, the Netherlands, New Zealand, Norway, Sweden, and Switzerland.[i] The album reached number two in France, Italy, Spain, and on theEuropean Top 100 Albums chart.[163][164][165][166] It also reached number six in Japan.[167]
Born in the U.S.A. was the best-selling album of 1985 and of Springsteen's career.[152][168] It is one ofthe best-selling albums of all time, with worldwide sales of over 30 million copies.[104][169] It was certified three times platinum by theBritish Phonographic Industry (BPI) in July 1985, denoting shipments of 900,000 units in the U.K.[170] After the advent of the North AmericanNielsen SoundScan tracking system in 1991, the album sold an additional 1,463,000 copies,[171] and in May 2022, it was certifiedseventeen times platinum by theRecording Industry Association of America (RIAA) for shipments of 17 million copies in the U.S.[172]
By 1984, themusic industry had become reliant on singles and music videos for success following the rise ofMTV in the U.S. With the success ofMichael Jackson'sThriller (1982), record labels wanted to turn albums into "mega-albums". The music industry historian Steve Kropper has said thatThriller created a "video-driven blueprint" to keep an album high in the charts for at least an entire year.[173] Springsteen and Landau had only envisioned one or two singles fromBorn in the U.S.A.. Feeling otherwise, Columbia planned "at least half a dozen" possible singles, each accompanied by danceremixes and music videos to broaden airplay, both on the radio and in clubs.[142][173] Sodomsky later wrote: "MTV had evolved into a legitimate arm of the music industry, and Springsteen's new look [muscular with a bandana] helped him gain traction in an image-centric medium."[51] Springsteen also conducted interviews with media outlets includingPeople andEntertainment Weekly.[174]
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Born in the U.S.A. was supported by a record-tying seven top ten singles.[j][30][82] The first, "Dancing in the Dark" with "Pink Cadillac" on theB-side,[81] was released on May 9, 1984.[177] It peaked at number two on the U.S.Billboard Hot 100 and spent 21 weeks on the chart.[85] Elsewhere, it topped the singles charts in Canada, the Netherlands, and Belgium, and also reached number four in the U.K.[81] The 12" single featured three dance remixes of "Dancing in the Dark" by the producerArthur Baker;[178] it was the best-selling 12" single of the year.[179] "Cover Me", featuring a 1981 live recording ofTom Waits' "Jersey Girl" as the B-side,[180] was released as the second single on July 31.[19] It spent 18 weeks on theBillboard Hot 100,[85] reaching number seven, as well as number two onBillboard'sMainstream Rock chart.[19] A dance remix by Baker appeared on a 12" single.[175] "Born in the U.S.A.", backed by "Shut Out the Light", was issued as the third single on October 30.[114] It spent 17 weeks on theBillboard Hot 100, reaching number nine.[85] Elsewhere, it topped the charts in Ireland and New Zealand, and peaked at number two in Australia, and number five in the U.K.[114] A dance remix by Baker appeared on a 12" single in January 1985.[181]
"I'm on Fire", backed by "Johnny Bye-Bye",[180] was released as the fourth single on February 6, 1985.[182] It peaked at number six on theBillboard Hot 100 and remained on the chart for 20 weeks.[85] "Glory Days" followed on May 13,[183] with "Stand On It" as the B-side.[136] It spent 18 weeks on theBillboard Hot 100, peaking at number five.[85] The sixth single, "I'm Goin' Down", was issued on August 27,[184] backed by "Janey, Don't You Lose Heart".[134] It reached number nine on theBillboard Hot 100,[85] and also charted in Sweden and Italy.[134] The seventh and final single, "My Hometown", was released on November 21,[139] with a 1975 live recording of theChristmas song "Santa Claus Is Comin' to Town" as the B-side.[180] It reached numbers six and nine in the U.S. and the U.K., respectively.[139] CBS compiled the three extended dance remixes, two other singles, the five exclusive B-sides, and several songs from Springsteen's previous albums for release onThe Born in the U.S.A. 12" Single Collection in the U.K. in 1985.[175]
Five of the album's seven singles were supported with music videos. The video for "Dancing in the Dark", Springsteen's first true music video,[k][186] depicts a live performance of the song by Springsteen and the E Street Band. Directed byBrian De Palma, it was shot at theSt. Paul Civic Center inSaint Paul, Minnesota, on June 28 and 29, 1984. In the video, Springsteen pulls a young fan, played by the then-unknown actressCourteney Cox, on stage to dance;[81][179] Springsteen recreated the bit frequently with young female fans throughout the tour.[148] De Palma's video introduced Springsteen to the MTV generation and helped Springsteen reach a much wider audience.[186][187] The filmmakerJohn Sayles directed the videos for "Born in the U.S.A.", "I'm on Fire", and "Glory Days".[188] For the title track, Sayles interspersed concert footage of Springsteen singing the song, shot in Los Angeles in 1984, with footage of small-town America.[l][181][189]
"I'm on Fire" was Springsteen's first narrative video,[190] starring Springsteen himself as anauto mechanic captivated by an unseen young woman in a white dress.[125][191] The video won the award forBest Male Video at theMTV Video Music Awards in 1985.[125] The video for "Glory Days" starred Springsteen as the song's titular baseball player, working on a construction site and practicing baseball pitches alone, reflecting on his "glory days". It transitions to a performance of the song at a club with the E Street Band, featuring both Steven Van Zandt and his replacement guitaristNils Lofgren, alongside new backing vocalistPatti Scialfa. The video ends with Springsteen's character playing a game of catch with his son until his wife, played by Springsteen's first wifeJulianne Phillips, picks them up.[85][136][192] The video for "My Hometown" depicts a live performance of the song.[152] It was directed by Arthur Rosato and was shot towards the end of the tour at theLos Angeles Memorial Coliseum.[139][193]
| Initial reviews | |
|---|---|
| Review scores | |
| Source | Rating |
| Christgau's Record Guide | A[m][195] |
| Los Angeles Times |  [196] |
| Record Mirror |  [197] |
| Rolling Stone | [106] |
| Saturday Review | [198] |
| Smash Hits | 8/10[199] |
| Sounds | [200] |
Born in the U.S.A. received favorable reviews from music critics on release.[98] The album was praised as an accessible record with new musical elements[201] that a few, includingRobert Hilburn and Sandy Robertson, believed would please longtime fans and attract new ones.[103][200] Writing forShreveport, Louisiana'sThe Times, Marshall Fine wrote: "It's a superb effort, an album of rich musical and lyrical textures that can only enhance Springsteen's reputation as a rock 'n' roll original."[133] Some critics describedBorn in the U.S.A. as a more commercial version ofNebraska, one that is more easily digestible for a wider audience.[196][202] InRolling Stone, Debby Miller saidBorn in the U.S.A. was as well thought-out asNebraska, but with more sophistication and spirit.[106]
Springsteen's storytelling drew particular attention; Miller saw Springsteen creating "such a vivid sense of these characters" by "[giving] them voices a playwright would be proud of".[106]Cash Box anticipatedBorn in the U.S.A. would find success onalbum-oriented rock radio due to Springsteen's "special" ability to convey the lyrical messages of every song.[203]Saturday Review's John Swenson commended Springsteen for "championing traditional rock values at a time when few newer bands show interest in such a direction",[198] whileRobert Christgau ofThe Village Voice praised his evolution as an artist.[195] InThe New York Times,Stephen Holden highlighted Springsteen as "one of a very small number of rock performers who uses rock to express an ongoing epic vision of [America], individual social roots and the possibility of heroic self-creation."[96] Others praised the instrumentation, Springsteen's vocal performances,[204] and the performances of the E Street Band.[135][197][204]
Not all reviews were positive. Several reviewers criticized the use of similar lyrical themes as prior albums;[135][199][204][205] Richard Harrington ofThe Washington Post wrote: "The problem is that Springsteen's taken us down these mean sidestreets and through these badlands all too often since 1978'sDarkness on the Edge of Town."[205] Robertson took less issue with the similar themes, arguing that Springsteen was "polishing and perfecting his craft", makingBorn in the U.S.A. his best work yet.[200] Other critics, such as Harrington andNME'sCharles Shaar Murray, were more negative, calling the music "deadly dull" and "dry", respectively.[109][205] Harrington said that "Springsteen has become a brooding, boorish visionary, with no respite of working class advocacy or the resilient spirit of youth,"[205] while Carr argued: "By abandoning all that 'rebel triumphant' blabber'n smoke, Springsteen displays the kind of moral and artistic integrity that rock music rarely shows any more."[109] He summarized: "No-one's going to get high on fantasy or rebellion from listening toBorn in the U.S.A."[109]
Born in the U.S.A. was voted the best album of the year in the 1984Pazz & Jop critics poll.[111] Christgau, the poll's creator, also ranked it number one on his list and in 1990 named it the ninth-best album of the 1980s.[206][207]NME, in their end-of-the-year list, placed it at number two, behindBobby Womack'sThe Poet II.[208] InRolling Stone, Springsteen and the E Street Band won artist and band of the year, album of the year forBorn in the U.S.A., and single and music video of the year for "Dancing in the Dark".[209] At the27th Annual Grammy Awards in 1985,Born in the U.S.A. was nominated for theGrammy Award forAlbum of the Year, while "Dancing in the Dark" was nominated forRecord of the Year and won the award forBest Rock Vocal Performance, Male.[210] "Born in the U.S.A." was nominated for Record of the Year at thefollowing year's ceremony.[211]
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Springsteen and the E Street Band supportedBorn in the U.S.A. on theBorn in the U.S.A. Tour, which ran 156 concerts from June 29, 1984, to October 2, 1985.[101] Rehearsals began in early May 1984. By that point, the E Street Band had not performed together in two and a half years.[212] The lineup included returning members Bittan, Clemons, Tallent, Federici, Weinberg;[148] Nils Lofgren, who replaced Van Zandt as a second guitarist;[212] andPatti Scialfa, who was hired by Springsteen as a backing vocalist four days before the tour began.[213][214] Springsteen reworked his image to be "highly masculinized" for the tour; he wore sleeveless shirts to show off his new muscular physique, was clean-shaven, and held his curly hair up with a bandana.[215]
The tour began in Saint Paul, Minnesota, where the video for "Dancing in the Dark" was filmed.[216] With over sixty unperformed songs in Springsteen's repertoire since the end of the River Tour, the shows consisted of material throughout Springsteen's whole career. "Born in the U.S.A." or "Thunder Road" (1975) often started the shows, after which the first set typically consisted of older material (including songs fromNebraska). The second set primarily included songs written afterNebraska's release, such as "Dancing in the Dark", "No Surrender", and "Bobby Jean".[217] Unlike previous tours, the setlists for the Born in the U.S.A. Tour typically remained the same every night, with few exceptions.[218]
Springsteen attracted political attention during the initial U.S. leg when the conservative political commentatorGeorge Will attended the show inLargo, Maryland, on August 25. Will published a column inThe Washington Post about Springsteen the following month, wherein he praised the performer's work ethic and discussed his "presumed patriotism" with the usage of the phrase "born in the U.S.A."[219][220][221] Less than a week after the column's publishing, presidentRonald Reagan, in the middle of hisreelection campaign, praised Springsteen's "patriotism" during a campaign rally inHammonton, New Jersey. Springsteen himself dismissively responded to Reagan's comments two days later during a show in Pittsburgh,[219][222] and from around this time began talking more frequently at his shows about his socialist ideology; from November he additionally started donating some concert proceeds to local charities or community organizations.[223]
The initial American leg of the tour ran through January 1985.[209] During the break, Springsteen participated in the recording of the charity single "We Are the World" with other recording artists includingHuey Lewis,Michael Jackson, andLionel Richie.[152][224] The tour continued from late March to July around the world with shows in Australia, Japan, Europe, and the U.K.[209] Springsteen married his first wifeJulianne Phillips in May,[225] between the Oceania and European legs.[226] The European leg drew large crowds, including a 100,000 attendance in Ireland and three sold-out shows atWembley Stadium in London.[192] The final U.S. leg ran from August to October 2,[209] ending with four consecutive shows at the Los Angeles Memorial Coliseum.[227] The tour's massive success led to the creation of Springsteen's firstlive album,Live 1975–85, released in November 1986.[82][228]
Springsteen and the E Street Band performed the fullBorn in the U.S.A. album during a show at the Hard Rock Calling Festival in London atQueen Elizabeth Olympic Park on June 30, 2013. ADVD of the full performance, titledBorn in the U.S.A. Live: London 2013, was packaged withAmazon pre-orders of Springsteen's 18th studio albumHigh Hopes in January 2014.[229] Besides the 2013 London concert, Springsteen performed the entireBorn in the U.S.A. album in 2009 at shows in East Rutherford and Philadelphia,[230] several other concerts in 2013 including in Munich, Milan, and Rio De Janeiro,[231] and in 2014 in Melbourne and Auckland.[232]
Born in the U.S.A. made Springsteen a superstar[105][233] and brought him his largest amount of success to date as a recording and performing artist,[234] touching off a wave of what the author Chris Smith termed "Bossmania".[235] Although he had been a well-known star before its release, Larry Rodgers wrote inThe Arizona Republic that "it was not until he hit the gym to get buffed up and showed off his rear end in [the] cover photo forBorn in the U.S.A. that he became an American pop icon".[236] The author Bryan K. Garman suggested that this new image helped Springsteen popularize his persona on a new scale, while tying him to certain political and socio-cultural issues, at a time when Ronald Reagan was promoting prosperity and U.S. global influence "within a decidedly masculine framework".[237]Stereogum's Ryan Leas later called the album "one of the defining records of the '80s".[238]
Born In the U.S.A. changed my life, gave me my largest audience, forced me to think harder about the way I presented my music, and set me briefly at the center of the pop world.[108]
DespiteBorn in the U.S.A.'s commercial success, Springsteen was initially wary of his newfound fame and attention.[143] He later expressed reservations about the album, writing in his 2003 bookSongs, "I put a lot of pressure on myself over a long period of time to reproduce the intensity ofNebraska onBorn in the U.S.A. I never got it."[239] He further felt the title track "more or less stood by itself" and that "the rest of the album contains a group of songs about which I've always had some ambivalence".[30][239] Gabriel Fine argued that a "central" part of the album's legacy is the title track's misunderstood message and the "struggle" to make that message clear.[99] According to Kirkpatrick, the album's legacy is complicated for longtime fans due to its large success and Springsteen's public image of "muscular patriotism" that surrounded its release and accompanying tour.[234] The album also created a generational divide between new fans acquired from its success and fans of Springsteen's older works.[240]
The album's success ultimately influenced Springsteen's career trajectory for the rest of the 1980s and 1990s. In response to his newfound fame, Springsteen attempted to scale himself back to be viewed as a "normal" middle-aged singer-songwriter.[241] He later described the Born in the U.S.A. Tour as representing the end of the first phase of his career, believing he created an "icon" image that was not true to himself.[242] ForTunnel of Love (1987), the follow-up toBorn in the U.S.A., he recorded most of the parts himself using a synthesizer and wrote lyrics about love, romantic commitment, and married life.[243][244][245] He used the E Street Band sparingly on the album before disbanding the group in 1989.[243][246] In the 1990s, Springsteen ignored dominant music trends, such asgrunge andalternative rock,[247] as he created the music he wanted to make despite being aware of the potential commercial shortcomings.[242] His albums during this period,Human Touch,Lucky Town (both 1992), andThe Ghost of Tom Joad (1995), suffered commercially as a result.[n] The authorSteven Hyden argues that it was not until his and the E Street Band'sReunion Tour from 1999 to 2000, and the accompanyingLive in New York City film and live album, that Springsteen re-established himself as a cultural icon.[250] The following album,The Rising (2002), was his first full-length album with the E Street Band sinceBorn in the U.S.A. and his first to top theBillboard 200 sinceTunnel of Love.[251][252]
Born in the U.S.A. helped popularize American heartland rock. By 1985, the album had boosted the profiles of other heartland rock artists and their albums, such asJohn Mellencamp (Scarecrow),Tom Petty and the Heartbreakers (Southern Accents),Dire Straits (Brothers in Arms), andBob Seger.[209][253] Mellencamp, in particular, was accused at the time of being a pale imitation of Springsteen.[254]Born in the U.S.A. also helped establish synthesizers as a key component of the 1980s rock sound. Older artists who found success in this style includedDon Henley (Building the Perfect Beast),Robbie Robertson (Robbie Robertson), andBob Dylan (Empire Burlesque).[255] According to Hyden, in his bookThere Was Nothing You Could Do: Bruce Springsteen's "Born in the U.S.A." and the End of the Heartland, which dissectsBorn in the U.S.A. and its impact forty years after its original release,[256] the album served as an influence for later rock bands who wanted to mimic the album's power and impact, such asthe Killers withSam's Town (2006),Arcade Fire withThe Suburbs (2010),the War on Drugs withLost in the Dream (2014), andSam Fender withHypersonic Missiles (2019).[255][257]
| Retrospective reviews | |
|---|---|
| Review scores | |
| Source | Rating |
| AllMusic | [110] |
| Chicago Tribune | [258] |
| The Encyclopedia of Popular Music | [259] |
| MusicHound Rock | 4/5[260] |
| Pitchfork | 10/10[51] |
| Q | [261] |
| The Rolling Stone Album Guide | [262] |
In later decades,Born in the U.S.A. has generally been regarded as one of Springsteen's best records.[o] Himes argued that "as a total package",Born in the U.S.A. is Springsteen's best album.[107] Sodomsky called it "the bold, brilliant, and misunderstood apex of Bruce Springsteen's imperial era".[51] Hyden describesBorn in the U.S.A. as Springsteen's most iconic album in the pop-culture zeitgeist and the one that defines his persona "in the broadest sense".[267] The music journalist Matty Karas regarded it as "a quintessential pop album that was also a perfect distillation of the anger and bitterness seething beneath the surface of Reagan-era America."[100]Neil McCormick ofThe Daily Telegraph stated: "Born in the U.S.A. remains the most tightly honed of Springsteen's albums," one that unifies the "two disparate strands ofThe River" and "comes up with something that manages to be both angry and celebratory, often in the same song".[102]
The album still attracts mixed assessments. While one critic felt the album aged well into the 2000s,[117] others have felt that its production dates it to the 1980s,[234][268] but maintained that it added "historical value" and that the quality of the songs made up for it.[233][263] Writing inThe Encyclopedia of Popular Music,Colin Larkin describedBorn in the U.S.A. as an example of an artist's best-selling work not being their best creative or artistic work.[269] More negatively,Q magazine's journalistRichard Williams criticized Springsteen's exaggeration of his usual characters and themes in a deliberate attempt at commercial success. He accused the singer of trying to "exploit the American flag" and "to bury the anti-war message ofBorn in the U.S.A. beneath an impenetrable layer of clenched-fist bombast", which he felt was "downright irresponsible".[261]
Born in the U.S.A. has appeared on several best-of lists. In 1987,Born in the U.S.A. was voted the fifth greatest rock album of all time inPaul Gambaccini'sCritic's Choice poll of 81 critics, writers, and radio broadcasters.[270] In 2003,Rolling Stone rankedBorn in the U.S.A. number 85 on their list ofthe 500 Greatest Albums of All Time,[271] 86 in a 2012 revised list,[272] and 142 in a 2020 revised list.[273] In 2013, it was named the 428th greatest album ina similar list published byNME.[274] The album was also included in the book1001 Albums You Must Hear Before You Die.[275] The album was inducted into theGrammy Hall of Fame in 2012.[276] The same year,Paste magazine ranked it the fourth best album of the 1980s.[277] In 2015,Ultimate Classic Rock included it on a list compiling the best rock albums of the 1980s.[278]
Born in the U.S.A. was first reissued by Columbia on CD in 2000,[279] followed by an LP and CD reissue bySony BMG in 2007 and 2008, respectively.[279] In 2015,Sony Music released aremastered version of the album on both LP and CD.[280][281] On June 14, 2024, Sony Music reissued the album again on translucent red vinyl, featuring a booklet with new sleeve notes by Springsteen's archivist Erik Flannigan and a lithograph to mark its 40th anniversary.[282][283]
All tracks are written byBruce Springsteen.[87]
| No. | Title | Length |
|---|---|---|
| 1. | "Born in the U.S.A." | 4:39 |
| 2. | "Cover Me" | 3:26 |
| 3. | "Darlington County" | 4:48 |
| 4. | "Working on the Highway" | 3:11 |
| 5. | "Downbound Train" | 3:35 |
| 6. | "I'm on Fire" | 2:36 |
| No. | Title | Length |
|---|---|---|
| 1. | "No Surrender" | 4:00 |
| 2. | "Bobby Jean" | 3:46 |
| 3. | "I'm Goin' Down" | 3:29 |
| 4. | "Glory Days" | 4:15 |
| 5. | "Dancing in the Dark" | 4:01 |
| 6. | "My Hometown" | 4:33 |
| Total length: | 46:41 | |
According to the liner notes:[87]
The E Street Band
Additional musicians
Technical
Weekly charts[edit]
| Year-end charts[edit]
|
| Region | Certification | Certified units/sales |
|---|---|---|
| Australia (ARIA)[327] | 14× Platinum | 980,000‡ |
| Belgium (BRMA)[328] | Platinum | 75,000[328] |
| Brazil | — | 100,000[329] |
| Canada (Music Canada)[330] | Diamond | 1,000,000^ |
| Denmark (IFPI Danmark)[331] | 3× Platinum | 60,000‡ |
| Finland (Musiikkituottajat)[332] | 2× Platinum | 108,913[332] |
| France (SNEP)[333] | Platinum | 300,000* |
| Germany (BVMI)[334] | 2× Platinum | 1,000,000^ |
| Italy (FIMI)[335] sales since 2009 | 2× Platinum | 100,000‡ |
| Italy | — | 1,000,000[336] |
| Japan (Oricon Charts) | — | 212,700[167] |
| Mexico (AMPROFON)[337] | Platinum | 250,000‡ |
| New Zealand (RMNZ)[338] | 17× Platinum | 255,000‡ |
| Portugal (AFP)[339] | Gold | 20,000^ |
| South Africa | — | 100,000[340] |
| Spain (PROMUSICAE)[341] | Gold | 50,000^ |
| Switzerland (IFPI Switzerland)[342] | 3× Platinum | 150,000^ |
| United Kingdom (BPI)[343] | 3× Platinum | 1,120,000[297] |
| United States (RIAA)[172] | 17× Platinum | 17,000,000‡ |
| Summaries | ||
| Worldwide | — | 30,000,000[169] |
* Sales figures based on certification alone. | ||
