EXCELLENT SOUND and QUIET VINYL for BOTH SIDES of this ’80s classic from The Boss. Side one, at A+++, was the best we heard in our entire shootout! It’s tough to find great sounding copies of this album — or any Springsteen album for that matter — but this one is a HUGE step up, with the kind of clarity and fullness the typical pressing barely hints at.
We’re not the world’s biggest Springsteen fans here at Better Records (as you may have gathered by now) but when this sound is this good we can certainly get down and rock with The Boss.
So many copies left us cold with a flat, dry sound. If you’re bored by the first chorus of the title song, that’s a bad sign, and that was exactly our experience with most of the pressings that hit the table. When we threw this one on, things changed considerably. Bruce was really screaming, the drums were really pounding, and before we knew it we were really rockin’ out and enjoying the music.
Side one gives you a very strong bottom end with more PUNCH than we found anywhere else. The top end is open and extended with a silky quality — dramatically better than the gritty, grainy, edgy sound we heard up top on copy after copy. The vocals sound wonderful with plenty of presence and texture, and the soundfield has some actual depth. Many copies we played had a slightly smeary quality, but not this one — the clarity is superb and you can clearly hear transients on just about all the instruments. The transparency and energy go far beyond what you could hope to hear on a typical copy.
Side two is very good as well but not quite as exceptional. The bottom end has lots of weight and there’s good energy all around, but the vocals could use a little more presence. Our ultimate sides also opened up a bit more, but I think you’ll find this side a step up over whatever you’ve been playing up to now. Drop the needle on Dancing In The Dark for some of the best sound on the side.
Born in the U.S.A.
Working on the Highway
I’m on Fire
I’m Goin’ Down
Dancing in the Dark
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.