布鲁斯·史普林斯汀（英语：Bruce Springsteen，1949年9月23日－）暱称 "The Boss"是美国摇滚歌手、创作者与吉他手。Springsteen经常与E街乐团共同创作与巡迴演出，此外也以个人的身份或是与其它乐手联袂演出。一方面明显地受到猫王、伍迪·格思里、皮特·西格、埃迪·科克伦与鲍勃·迪伦的影响，而另一方面也受到60年代以来的摇滚乐与Rap&blues的薰陶，史普林斯汀的音乐也被称作“heartland rock”，带著流行的风味，诗人般的歌词，与美国爱国主义情结，尤其是以他的家乡新泽西为主轴来环绕。他对於表达一般中下阶层民眾的生活，不仅是发自内心的诚恳，更有著悦耳动听的旋律以及辛辣直截的批判，让他得到了数座葛莱美奖、一个奥斯卡小金人，并进入摇滚名人堂，2004年滚石杂誌将他排名为有史以来最伟大的艺术家第23名。
他最著名的录音室专辑Born in the U.S.A.以及Born to Run恰如其份地说明了他透过歌曲企图讲述出一般民眾即使陷入在日常生活的困境时，心中仍旧可以高贵地面对，并解决它。
Bruce Springsteen 唱歌那时
Bruce Springsteen发行那张卖了一千五百万张，名唤 Born in the U.S.A. 的专辑时，我还是个刚刚放胆挑战教官的自由心证，跑去那时尚未拆迁的中华商场一楼，订做泛白色大学服和紧得不能再紧的卡其裤，让自己穿得啪里啪里的学生。
那是值得纪念的一段「转大人」时光。我有了交往密切的女生，Dancing in the dark 捶透心房的节奏和超脱男欢女爱的精采歌词，开始成天在身边鼓动著，於是我知道写歌不必拘泥男欢女爱，也能触动他人心弦，让人除了聆听的美好之外，得到难以言喻的额外惊喜。写这种歌，Bruce Springsteen，美国人喊〞Boss〞的摇滚歌手，是音乐圈第一把交椅。
I got a job working construction for the Johnstown Company
But lately there ain't been much work on account of the economy
Now all them things that seemed so important
well mister they vanished right into the air
Now I just act like I don't remember
Mary acts like she don't care
But I remember us riding in my brother's car
Her body tan andy wet down at the reservoir
At night on them banks I'd lie awake
And pull her close just to feel each breath she'd take
Now those memories come back to haunt me
they haunt me like a curse ..........
Sunny是我们班上的Boss迷，她拥有大部分Bruce Springsteen的专辑，我们常凑在一块儿，听Thunder Road、Hungry Heart，兴一来，也跟著唱机里的录音带一起唱。我们都在学校编过校刊，都说毕业后要到出版社里当编辑，那个现在看来不是什么远大志向的愿望，当时我们可都费心思索计量过。
They scream your name at night in the street
Your graduation gown lies in rags at their feet
And in the lonely cool before dawn
You hear their engines roaring on
But when you get to the porch they're gone
On the wind, so Mary climb in
It's a town full of losers
And I'm pulling out of here to win
我深刻地感受到词里「破晓前孤单的凄凉」，却也听到Bruce Springsteen奋力唱著「噢，怒吼之路！坐稳，扶紧 ，怒吼之路！ 」我有过美好的梦想，也去追求过，难道一点点失败，就把我击垮了吗？虽然〞It's a town full of losers 〞，但我如果不能振作起精神，又怎能〞 pulling out of here to win〞呢？
Bruce Springsteen也始终忠於自我，不媚俗，不屈就。自1969年开始在家乡新泽西州公开表演，1973年初发行首张专辑以来，已经唱了三十六、七个年头，至今依然老而弥坚，2002年为纪念「911事件」发行的那张〞The Rising〞里，他的肺活量仍然像是一具拥有丰沛能量的涡轮带动的，那种坚忍与强悍，抚慰了他受创的同胞，也让我们这些追随多年，虽然已告别青春年少，却仍怀记著当年烈火热情的中年乐迷们振奋不已。
来听 The River(版主喜欢的版本之一)
河之旅2016年是目前巡回演唱会中由Bruce Springsteen和 the E Street Band 在支持Springsteen的2015年的纽带下结合的：河募捐箱集。这标志着两年Bruce Springsteen和 the E Street Band的演唱，可能是Bruce Springsteen与the E Street Band最后一次的合作，因Springsteen 正计划为他的下一个发行个人的专辑。巡演的第一站所有节目将包括Springsteen1980年的专辑，也同时庆祝35周年河之旅的庆典。演唱会持续近三个半小时共有30首多歌曲的精彩演出。
The River Tour 2016 is a current concert tour by Bruce Springsteen and the E Street Band in support of Springsteen's 2015 The Ties That Bind: The River Collection box set. This marks the first tour in two years for Springsteen and the E Street Band and possibly the last tour with the E Street Band for a while as Springsteen plans a solo album for his next release. All shows on the first leg of tour will feature a full-length sequential performance of Springsteen's 1980 album, The River in celebration of its 35th anniversary. Shows have been lasting close to three and a half hours with over 30 songs being performed.
Each night of the tour will be mixed for release on live.brucespringsteen.net as high-quality downloads and CDs. Recordings will be available within days of each performance.
Buddy Holly, Hank Williams, Ike Turner, Big Mama Thornton, Bob Dylan, The Beatles, Johnny Cash, The Rolling Stones, David Bowie. We can argue all night about who built rock and roll.
I don’t think Bruce Springsteen rises to that level of innovator.
But I will say this: I don’t believe I’ve ever seen a performer move so comfortably within that framework, over such a long career, making such graceful adjustments as he grows older, than Springsteen. He is a craftsman of rock and roll, using all of the correct tools. And the evidence for that, presented Saturday night for a sold-out Blue Cross Arena by Springsteen & the E Street Band, was overwhelming.
The tour’s premise is a front-to-back presentation of The River, his 1980 double album, to use the vintage terminology of those vinyl days. Followed by a set drawn from four decades of the 66-year-old Springsteen. Three hours and 11 minutes. Thirty-four songs. One concert, two different moods. Let’s start with the second half of the show.
Springsteen & the E Street Band had already been playing for 1½ hours, the last echoes of The River hadn’t left the building, and they still had enough energy to turn the dial up to 11. From “Night” to “Badlands,” it leaped to 15. “Badlands” has become almost the arena anthem rocker that is “Born to Run” and “Because the Night,” with guitarist Nils Lofgren’s spinning, stumbling, manic dancing solo. “The Rising” gave way to an a cappella opening – Springsteen and the entire audience – for “Thunder Road.” Throw in the exuberance of “Rosalita (Come Out Tonight),” with Springsteen singing a duet with a Muppet, tossed up from the audience, that guitarist Steven Van Zandt dangled in front off his face.
There were also the now-familiar Springsteen tropes, including taking requests from signs held up by the crowd. He went with “I Wanna Be With You” and “I’m Goin’ Down,” then later scooped up a sign calling for “Tenth Avenue Freeze-Out,” which brings out the video images of the two E Streeters who have passed away, Clarence Clemons and Danny Federici.
Bruce Springsteen and the E Street Band perform atBuy Photo
Bruce Springsteen and the E Street Band perform at the Blue Cross Arena at the Community War Memorial. (Photo: CARLOS ORTIZ/@CFORTIZ_DANDC/STAFF PHOTOGRAPHER, STAFF PHOTOGRAPHER)
And the signs held by women pleading for Springsteen to pick them as dance partners during “Dancing in the Dark.” An unusual number of men also displayed signs offering their wives to Springsteen. He opted for a 65-year-old woman who not only danced with The Boss, but when he handed her an acoustic guitar she jammed away on it.
“Do you have anything left, Rochester?” Springsteen demanded, and the answer was yes, so he responded with The Isley Brothers’ “Shout.” The house lights were on through most of this last hour, revealing a sea of pumping fists, the arena looking like a giant frat party.
As the crowd streamed out of the arena, stepping over flattened beer cans, it’s too easy to say that the all-out rockers of the second half stole the show. But no, that was only the easy way to look at the evening.
The River is an ambitious album, but from the opening “The Ties That Bind” it has the rocking accessibility of a bar band at work. This despite the fact that The E Street Band, nine members on this tour, is a complex machine.
And that complexity is evident in The River: The Ties That Bind. Released on Dec. 4, it demonstrates the work that went into the album. The box set is four CDs of 54 songs, with outtakes, including “Meet Me in the City,” which opened Saturday’s show before the band proceeded to The River proper. Plus three DVDs that include a documentary and a concert, celebrating the 35th anniversary of The River. Springsteen wrote and rewrote that thing, discarding pieces as a novelist would with otherwise well-written chapters that didn’t fit the book.
ROCHESTER DEMOCRAT AND CHRONICLE
Spevak hangs with the Boss, for the 52nd time
There are plenty of wild-at-heart rockers on The River. The exuberant “Sherry Darling,” with Springsteen bring in with shouts of “Make some party noises, Rochester!” Plus “Two Hearts,” “Cadillac Ranch” and “Ramrod,” equating young women to a hot-rod engine, an accurate-enough analogy for many 21-year-old guys. And Springsteen crowd surfing through the end of “Hungry Heart.”
But those songs aren’t the true heart of the collection. “I wanted to make a big album that felt like life,” Springsteen told the audience. The River, he said, was his “coming of age” album.
Life is sometimes a sadness. Springsteen explained how “Independence Day” is about a family's “dreams and hopes that maybe didn’t work out so perfectly,” and how they end up “working out compromises they had to make.” An extended Roy Bittan piano solo opening really escalated the drama of the epic, brilliantly desperate “Point Blank,” with Van Zandt’s ragged backing vocal shadowing Springsteen like a cautionary ghost.
Then album-closing “Wreck on the Highway” and its sense of mortality. The final lines still take the breath away:
Sometimes I sit up in the darkness
And watch my baby as she sleeps.
Then I climb in bed and hold her tight
I just lay there awake in the middle of the night
Thinking about the wreck on the highway.
“The River is about time,” Springsteen said as he brought the set to a close. “You realize you have a limited amount of time to do your work, raise your family, do something good.”
The River is Springsteen’s rock opera of life.
A sequential presentation of an album is not simply a gimmick. It is a real reminder of the beauty of musicians curating a collection of songs that play off each other. “Wreck on the Highway” works better with “Ramrod” still echoing in the head.
The best of these songs are driven not by gasoline engines of “Ramrod,” but by the fragility of the characters. Some audience members elevated the communal feeling of the title track by holding up their phones with the flashlight app shining.
When The River was first released, if you really wanted to show that kind of appreciation for a song, you burned your fingers. But those days are gone, aren’t they? I remember reading years ago about how Springsteen thinking about producer Phil Spector’s idea of an album’s “four corners.” The first and last songs on the first side, flip it over, the first and last songs on the second side.
It’s an appreciation for a cohesive set of themes and images and sounds and album-cover art that’s been discarded in this digital age of fans downloading hit singles and ignoring the rest of the music. Such selective listening of a musician’s work is like skipping most of that ponderous Moby-Dick and reading only the section where Ahab harpoons the whale. Yes, you would think, Ahab’s perseverance paid off.
But the whale sunk the ship!
I apologize for not issuing a spoiler alert there for anyone who’s not read Moby-Dick. But the point being, an album heard in its entirety is a statement of where the artist was at that point in time. And perhaps where you were as well.
01. Meet Me In The City
02. The Ties That Bind
03. Sherry Darling
04. Jackson Cage
05. Two Hearts
06. Independence Day
07. Hungry Heart
08. Out In The Street
09. Crush On You
10. You Can Look (But You Better Not Touch)
11. I Wanna Marry You
12. The River
13. Point Blank
14. Cadillac Ranch
15. I’m A Rocker
16. Fade Away
17. Stolen Car
19. The Price You Pay
20. Drive All Night
21. Wreck On The Highway
23. No Surrender
24. I WANNA BE WITH YOU
25. I’M GOIN DOWN
27. Because The Night
28. The Rising
29. Thunder Road
30. Born To Run
31. Dancing In The Dark
32. Rosalita (Come Out Tonight)
33. Tenth Avenue Freeze-Out