Born in the U.S.A.

Born in the U.S.A. is the seventh studio album by the American singer-songwriter Bruce Springsteen, released on June 4, 1984, by Columbia Records. Produced by Springsteen, Jon Landau, Steven Van Zandt, and Chuck Plotkin, the album was recorded in New York City with the E 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 effort Nebraska (1982), while others were written afterward. The sessions yielded between 70 and 90 songs; some were released as B-sides, some later saw release on compilation albums, while others remain unreleased.

Born in the U.S.A. has a more pop-influenced sound than Springsteen's previous albums. Its production is typical of mainstream 1980s rock music, with prominent use of synthesizers. The lyrics contrast with the album's livelier sound and continue the themes of previous records, particularly Nebraska. 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 the American flag has appeared on lists of the best album covers ever.

Accompanied by a vast promotional campaign that featured seven singles, five music videos, and three dance remixes, 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 of the 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 the Born 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 American heartland rock and influenced later artists who wanted to mimic its power and impact. In later decades, publications such as Rolling Stone and NME ranked Born in the U.S.A. one of the best albums by Springsteen, of the 1980s, and of all time. It was inducted into the Grammy Hall of Fame in 2012.

Background

A black-and-white photograph of a man holding a microphone

Springsteen in 1981

Following the conclusion of the River Tour in September 1981, Bruce Springsteen rented a ranch in Colts Neck, New Jersey.Template:SfnTemplate:Sfn While there, he spent time writing new material,Template:Sfn including a song called "Vietnam", about a Vietnam veteran returning home from the war to an unenthusiastic response.Template:Sfn During the tour, Springsteen read Born on the Fourth of July, a 1976 autobiography by Ron Kovic, an anti-war activist who was wounded and paralyzed during the Vietnam War.Template:SfnTemplate:Sfn 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:Template:Sfn "Vietnam", "Shut Out the Light", "A Good Man Is Hard to Find (Pittsburgh)", "Highway Patrolman", and "Brothers Under the Bridges".Template:Sfn

As Springsteen continued developing "Vietnam", the director Paul Schrader asked him to write music for an unmade film called Born 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.Template:Sfn Springsteen revised the lyrics and music of "Vietnam", using the film's title to create "Born in the U.S.A."Template:SfnTemplate:SfnTemplate:SfnTemplate:Sfn Schrader eventually made the film but retitled it Light of Day, which was released in 1987;Template:Sfn Springsteen provided its title song.Template:SfnTemplate:Sfn

Using a four-track tape recorder purchased by his guitar technician Mike Batlan, Springsteen demoed tracks he had written during that period in the bedroom of his Colts Neck home between December 17, 1981, and January 3, 1982.Template:SfnTemplate:SfnTemplate:Sfn These included "Born in the U.S.A.", "Nebraska", "Atlantic City", "Mansion on the Hill", "Downbound Train", and "Child Bride".Template:Sfn Springsteen intended to rerecord the Colts Neck demos with the E Street Band – Roy Bittan (piano), Clarence Clemons (saxophone), Danny Federici (organ), Garry Tallent (bass), Steven Van Zandt (guitar), and Max Weinberg (drums) – during sessions booked to begin in April 1982 at the Power Station in New York City,Template:Sfn where The River (1980) had been recorded.Template:Sfn 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".Template:Sfn Template:Clear

Recording history

Initial sessions and Nebraska

Template:Further In late January 1982, weeks after recording the demos in Colts Neck, Springsteen and the E Street Band were at the Hit Factory in New York City recording a session for Gary U.S. Bonds' album On the Line, for which Springsteen had written seven songs and was co-producing with Van Zandt.Template:SfnTemplate:SfnTemplate:Sfn During the session, the band recorded "Cover Me", a song Springsteen had written for Donna Summer. His manager-producer Jon Landau convinced Springsteen to keep it for his next album after hearing the finished recording;Template:SfnTemplate:Sfn Springsteen subsequently wrote Summer another song, "Protection",Template:Sfn and likewise recorded a version of that song with the E Street Band.Template:Sfn

A black and white photograph of seven men in a hallway. One is kneeling in the center while three stand on his left and three on his right

Springsteen (center, kneeling) and the E Street Band in February 1977

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.Template:SfnTemplate:Sfn Production was handled by Springsteen, Landau, Van Zandt, and The RiverTemplate:'s mixer Chuck Plotkin, while Toby Scott returned from the Hit Factory sessions as engineer.Template:Sfn 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.Template:SfnTemplate:SfnTemplate:Sfn Plotkin has described the performances with E Street as "less meaningfulTemplate:Nbsp... less compellingTemplate:Nbsp... less honest" than the demo recordings.Template:Sfn

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.Template:Sfn According to the author Dave Marsh, the night the band recorded "Born in the U.S.A." was when "they knew they'd really begun making an album".Template:Sfn Over the next few weeks into May,Template:Sfn the band's productivity increased as they recorded material absent from the Colts Neck tape, including "Darlington County",Template:Efn "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".Template:EfnTemplate:SfnTemplate:SfnTemplate:Sfn as well as a new recording of "Cover Me".Template:EfnTemplate:Sfn According to Weinberg, these sessions featured little rehearsal as the band went through songs without knowing them fully, often in less than five takes.Template:Sfn

Despite the band's productivity and excitement about the recorded material, Springsteen remained focused on the rest of the Colts Neck songs.Template:Sfn Realizing the tracks would not work in full-band arrangements, he decided to release the demos as is.Template:SfnTemplate:Sfn Springsteen briefly considered releasing a double album of acoustic and electric songs before deciding to release the acoustic ones on their own to give them "greater stature".Template:EfnTemplate:Sfn The album, Nebraska, was released in September 1982.Template:Sfn It featured nine songs from the original demo tape,Template:Sfn and "My Father's House", recorded at Colts Neck in late May.Template:Sfn The album sold well,Template:Sfn reaching number three in the U.S. and the U.K. charts.Template:Sfn According to the pop culture scholar Gillian G. Gaar, music critics praised the album as "a brave artistic statement".Template:Sfn Springsteen himself did not promote the album; he conducted no interviews and, for the first time after an album release, did not tour,Template:SfnTemplate:Sfn instead vacationing on a cross-country road trip to California.<ref name="Pitchfork2021" />

Further demos and continued sessions

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 the Nebraska tracks,Template:SfnTemplate:SfnTemplate:Sfn albeit with a drum machine.Template:Sfn 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 1962 Elvis Presley single of the same name.Template:Efn Like the Nebraska tracks, Springsteen felt the new material would not work in a band setting; he considered but ultimately dismissed releasing another solo acoustic album.Template:SfnTemplate:SfnTemplate:Sfn During this period, Springsteen made numerous lifestyle changes, including therapy and working on his physique with a weight-training program.<ref name="Pitchfork2021" />Template:SfnTemplate:Sfn At the end of April, he departed California and traveled back to New York to record more material with the E Street Band.Template:Sfn

Springsteen and the E Street Band resumed recording at the Hit Factory between May and June 1983.Template:Sfn 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".Template:SfnTemplate:Sfn 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.Template:SfnTemplate:Sfn According to the author Fred Goodman, Van Zandt departed due to personal clashes with Landau,Template:Sfn although other sources state Van Zandt had felt trapped in the E Street Band and was ready to perform solo.Template:SfnTemplate:Sfn By the summer of 1983, Van Zandt was touring supporting his second solo album, Voice of America.<ref name="Pitchfork2021" />Template:Sfn Springsteen's friendship with Van Zandt inspired the writing of two new songs, "Bobby Jean" and "No Surrender".Template:Sfn

By July 1983, Springsteen and his co-producers had over fifty tracks to choose from for the album,Template:Sfn tentatively titled Murder Incorporated.Template:EfnTemplate:Sfn 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").Template:Sfn 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".Template:SfnTemplate:Sfn 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".Template:Sfn

Final sessions, mixing, and mastering

Bob Clearmountain in 2017

Born in the U.S.A. was mixed by Bob Clearmountain (pictured in 2017).

With Springsteen still unsatisfied with the album, recording continued into the new year.Template:SfnTemplate:Sfn Mixing began around this time by Bob Clearmountain, who had mixed The RiverTemplate:'s "Hungry Heart".Template:SfnTemplate:Sfn In October 1983, the band recorded "Bobby Jean" and "No Surrender",Template:Sfn while November yielded "Brothers Under the Bridge"Template:Sfn and more unreleased songs, including "Shut Down" and "100 Miles From Jackson".Template:Sfn At this point, Landau had grown tired of the prolonged recording sessions but remained supportive of Springsteen's vision.Template:Sfn 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.Template:Sfn Born in the U.S.A. was decided as the album title by January 1984.Template:Sfn The same month, the band recorded "Rockaway the Days" and "Man at the Top".Template:SfnTemplate:Sfn

In February,Template:Sfn Landau felt the album was still missing a lead 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;Template:SfnTemplate:SfnTemplate:Sfn it was recorded shortly after.Template:Sfn The sessions ended in March.<ref name="CRR">Template:Cite web</ref> 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.Template:Sfn He explained in his 2016 autobiography Born to Run: "By that time, I'd recorded a lot of musicTemplate:Nbsp... 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."Template:Sfn Eleven songs were selected by April.Template:Sfn When Van Zandt heard about the final track listing, he urged Springsteen to include "No Surrender",Template:Sfn<ref name="Billboard30">Template:Cite magazine</ref> as he felt it acted as a bridge between Springsteen's earlier and current works.Template:Sfn Springsteen complied, bringing the final track count to twelve.<ref name="CRR" />Template:Sfn The album was mastered by Bob Ludwig at Masterdisk in New York City.<ref name="liner notes" />

Outtakes

After over two years of recording, the Born in the U.S.A. sessions yielded between 70 and 90 songs.Template:SfnTemplate:Sfn Five were released as B-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 1998 compilation album Tracks.Template:Sfn Other outtakes that appeared on Tracks 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".Template:Sfn<ref>Template:Cite web</ref> "Murder Incorporated" was later released on Greatest Hits (1995),Template:Sfn while "County Fair" and "None but the Brave" appeared on the limited edition bonus disc of The Essential Bruce Springsteen (2003).<ref>Template:Cite web</ref> Songs recorded in Springsteen's Los Angeles home in early 1983 that previously appeared on bootlegsTemplate:Sfn will be officially released in June 2025 as part of the box set Tracks II: The Lost Albums. Titled LA 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".<ref>Template:Cite web</ref>

Music and lyrics

Born in the U.S.A. is a rock and roll,<ref name="HoldenNYT" /><ref name="Kaye&Seltzer">Template:Cite news</ref><ref name="hotpress">Template:Cite book</ref> heartland rock,<ref name="Consequence">Template:Cite web</ref> and pop album,<ref name="Pitchfork2021" />Template:Sfn with elements of folk and rockabilly.Template:Sfn 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.Template:Efn Some critics noted in 1984 that Springsteen inputted various electronic textures into the album but remained true to his traditional rock and roll roots.<ref name="HoldenNYT" /><ref name="Miller" /> 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" were earworms, featuring melodies and rhythms that "resonated with emotions as basic as lust, loneliness, anger, and yearning and gave them shape".Template:Sfn Most of the songs are built around only two or three chords.<ref name="HoldenNYT">Template:Cite web</ref>

Template:Quote box Contrasting with the album's livelier sound, Born in the U.S.A. continues several of the lyrical themes from Springsteen's previous records, particularly Nebraska.<ref name="HilburnLATimesJune">Template:Cite news</ref>Template:Sfn The author Peter Ames Carlin has written that Born in the U.S.A. "filtered the dystopian gloom of the Nebraska songs into the living world of love, work, and the hobbled pursuit of happiness."Template:Sfn Springsteen's characters are married, in their mid-'30s, and dealing with parenthood and recession.<ref name="NME">Template:Cite magazine</ref> For AllMusic's William Ruhlmann, the album is an apotheosis 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" on Nebraska, the characters on his seventh album were alive "with their sense of humor and their determination intact".<ref name="Ruhlmann" /> Like Ruhlmann, on Born in the U.S.A. other critics have likewise heard humor,<ref name="Kaye&Seltzer" /><ref name="Consequence" /><ref name="Miller" /><ref name="P&J" /> or optimism: for Consequence of SoundTemplate:'s Gabriel Fine, the album seems to argue that "one can both love America and rage against its brokenness".<ref name="Consequence" /> By contrast, the main theme throughout Born in the U.S.A. for Stephen Holden is "the decline of small-town working class life in a post-industrial society".<ref name="HoldenNYT" /> 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."<ref name="HoldenNYT" />

Side one

Template:Listen "Born in the U.S.A." is an energetic, rock and roll song driven by synthesizer and pounding drums.<ref name="CRR" /><ref name="DeGayneTitleTrack" />Template:Sfn A protest song,<ref name="DeGayneTitleTrack" />Template:Sfn<ref name="UpRBest">Template:Cite web</ref> it dissects the cruel mistreatment of Vietnam veterans upon their return home after the war.<ref name="CRR" /><ref name="Consequence" /> The song's message is widely regarded as misunderstood,<ref name="Billboard30" /><ref>Template:Cite web</ref> as many Americans, including president Ronald Reagan, interpreted it as a patriotic anthem;<ref name="DeGayneTitleTrack" />Template:Sfn<ref name="Cotter1984" /> several critics also noted how the song could be misconstrued in favor of jingoism.<ref name="Pitchfork2021" /><ref name="Consequence" /><ref name="BBC">Template:Cite web</ref> 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".Template:Sfn AllMusic's Mike DeGayne argued that while the song would have been effective as an acoustic ballad, similar to "My Hometown" or NebraskaTemplate:'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".<ref name="DeGayneTitleTrack">Template:Cite web</ref>

"Cover Me" is a straightforward rock song,<ref name="Billboard30" /> with elements of pop,<ref name="CRR" /> disco,<ref name="UpRBest" /> and funk.Template:Sfn Lyrically, it describes a love story wherein the narrator, suffering from post-traumatic stress disorder, pleas for his lover to stay with him and protect him from the outside world.Template:Sfn<ref name="Billboard30" /> "Darlington County" is an upbeat rock song that some critics compared to the music of Creedence Clearwater Revival.<ref name="CRR" />Template:Sfn It tells the story of two New York friends who embark on a road trip. They come to Darlington, South Carolina to work, but end up spending much of their time with women.<ref name="Billboard30" />Template:SfnTemplate:Sfn The author Rob Kirkpatrick said the song was "steeped in countrified blue-collarism".Template:Sfn

"Working on the Highway" is a rockabilly track<ref name="CRR" />Template:Sfn that sets upbeat music against more downbeat lyrics.<ref name="Kaye&Seltzer" /> 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.Template:SfnTemplate:Sfn Originally "Child Bride" from the Nebraska demo tape, the final track retains the same story and several lines from the original lyrics.Template:Sfn

"Downbound Train" is a minimalist rock ballad featuring a synthesizer.<ref name="Consequence" />Template:Sfn Called the album's saddest song by BillboardTemplate:'s Caryn Rose,<ref name="Billboard30" /> the lyrics include themes of disillusionment and loss.Template:Sfn It follows a man who has lost everything:<ref name="HoldenNYT" /> 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.Template:SfnTemplate:Sfn The song's narrator is similar to the ones on Nebraska and "Stolen Car" from The River. "Downbound Train" originated from a Nebraska demo called "Son You May Kiss the Bride".Template:Sfn

"I'm on Fire" is a minimalistTemplate:Sfn ballad whose instrumentation consists of picked guitar, synthesizer, and brushed drums.<ref name="CRR" /> Musically inspired by Johnny Cash,Template:Sfn the song is an ode to adulterous lust,Template:Sfn in which the narrator expresses an obsessive and uncontrollable desire for the heroine.<ref name="UpRBest" />Template:Sfn 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."<ref name="Consequence" />

Side two

A man on stage holding a guitar

Springsteen wrote "No Surrender" and "Bobby Jean" as tributes to his friend, the guitarist Steven Van Zandt (pictured in 1983),<ref name="Billboard30" /> who had departed the E Street Band in June 1982.Template:Sfn

"No Surrender" is an upbeat<ref name="CRR" /> 1950s/1960s-style rock song with a "dense, rich, and heavy sound".Template:Sfn Lyrically, the song is a statement of friendship,<ref name="Billboard30" /> freedom,Template:Sfn and, in Kirkpatrick's words, "youthful defiance with allusions to blood brotherhood and forced warlike metaphors".Template:Sfn The song is complemented by "Bobby Jean", another song about friendship.Template:Sfn<ref name="HoldenNYT" />Template:Sfn In it, the narrator visits the childhood home of the title character, causing his memories of them to come back in a nostalgic tone.Template:Sfn 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.<ref name="Pitchfork2021" />Template:Sfn Musically, it is a rock and rollTemplate:Sfn ballad<ref name="Billboard30" /> with an accented rhythm and near-dance groove.Template:Sfn Both "No Surrender" and "Bobby Jean" have been described as tributes to Steven Van Zandt and his friendship with Springsteen.<ref name="Pitchfork2021" />Template:Sfn

"I'm Goin' Down" is a rock song<ref name="Kishbaugh">Template:Cite news</ref> with elements of rockabilly.<ref name="Kaye&Seltzer" /><ref name="Fine">Template:Cite news</ref> Its upbeat music contrasts with the lyrics, which tell a melancholic story about a couple on the verge of a break-up.<ref name="Billboard30" /><ref name="UpRBest" /><ref name="Cotter1984" /> The narrator's girlfriend has lost her passion and turned to indifference.Template:Sfn "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.<ref name="Billboard30" /><ref name="Times1984">Template:Cite magazine</ref>Template:SfnTemplate:Sfn 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.Template:Sfn Some commentators have argued the song opposes nostalgia rather than embracing it, as the protagonist pities the former high-school heroes.<ref name="UpRBest" /><ref name="Times1984" />

"Dancing in the Dark" is an upbeat synth-pop and dance-rock song led by synthesizer.Template:Efn 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.Template:SfnTemplate:Sfn 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.Template:Sfn The song ends with a jazzy saxophone solo from Clemons.Template:Sfn

"My Hometown" is a folk ballad<ref name="CRR" /> driven by a synthesizer.<ref name="Pitchfork2021" />Template:Sfn Throughout its four verses, the narrator grows from child to adult and experiences hardship living in his hometown.<ref name="HometownAM">Template:Cite web</ref> Based on Springsteen's personal experiences in his own hometown growing up in the 1960s,Template:Sfn 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.<ref name="Pitchfork2021" /><ref name="HometownAM" />Template:Sfn PitchforkTemplate:'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."<ref name="Pitchfork2021" />

Artwork

The cover photograph depicts Springsteen standing with his back to the camera against the stripes of an American 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.Template:Sfn 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.Template:SfnTemplate:Sfn It was initially controversial; some commentators believed Springsteen was urinating on the flag,<ref name="Pitchfork2021" /> which Springsteen asserted was inaccurate, telling Kurt Loder in Rolling Stone that "the picture of my ass looked better than the picture of my face" and that there was no "secret message".<ref name="LoderInterview">Template:Cite magazine</ref> The cover, designed by Andrea Klein,<ref name="liner notes" /> is one of a small number of Springsteen's studio album covers to not feature his face, alongside Greetings from Asbury Park, N.J. (1973), Nebraska, Human Touch (1992), The Ghost of Tom Joad (1995), and Western Stars (2019).Template:Sfn

The photograph was taken by the rock photographer Annie Leibovitz,Template:Sfn formerly of the magazines Rolling Stone and Vanity Fair.Template:Sfn Leibovitz herself did not like the photo, referring to it as a "grab shot".Template:Sfn 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 a Pete Townshend-like windmill pose).Template:Sfn

The inside of the sleeve contains a black-and-white photograph of Springsteen, another of him with the E Street Band, and song lyrics.Template:Sfn 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").Template:Sfn The cover has appeared on Billboard and Rolling StoneTemplate:'s lists of the 100 best album covers of all time at numbers 31 and 42, respectively.<ref>Template:Cite magazine</ref><ref>Template:Cite magazine</ref>

Release and promotion

Columbia Records released Born in the U.S.A. on June 4, 1984.<ref name="Billboard30" />Template:SfnTemplate:Sfn The album was the first compact disc manufactured in the United States for commercial release.<ref name="CRR" /> It was manufactured by CBS (Columbia's international distributor) and Sony Music at their newly opened plant, Digital Audio Disc Corporation, in Terre Haute, Indiana in September; Columbia's CDs were previously manufactured in Japan.<ref name="CRR" /><ref>Template:Cite magazine</ref>

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,<ref>Template:Cite magazine</ref> topping the chart two weeks later on July 7.<ref>Template:Cite magazine</ref> It stayed in the top 10 for 84 consecutive weeks and on the chart itself for almost three years.Template:SfnTemplate:Sfn It was also a commercial success in Europe and Oceania. In the United Kingdom, the album entered the UK 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;<ref name="OCC">Template:Cite web</ref> it was present on the chart for 135 weeks.<ref name="OCC" /> It also topped the album charts in Australia, Austria, Germany, the Netherlands, New Zealand, Norway, Sweden, and Switzerland.Template:Efn The album reached number two in France, Italy, Spain, and on the European Top 100 Albums chart.<ref name="EuroTop100" /><ref name="FRAchart" /><ref name="ITAchart" /><ref name="spachart" /> It also reached number six in Japan.<ref name="Jachart" />

Born in the U.S.A. was the best-selling album of 1985 and of Springsteen's career.Template:SfnTemplate:Sfn It is one of the best-selling albums of all time, with worldwide sales of over 30 million copies.Template:Sfn<ref name="worldwide sales" /> It was certified three times platinum by the British Phonographic Industry (BPI) in July 1985, denoting shipments of 900,000 units in the U.K.<ref>Template:Cite web</ref> After the advent of the North American Nielsen SoundScan tracking system in 1991, the album sold an additional 1,463,000 copies,<ref name="SoundScan">Template:Cite magazine</ref> and in May 2022, it was certified seventeen times platinum by the Recording Industry Association of America (RIAA) for shipments of 17 million copies in the U.S.<ref name="RIAA" />

Singles

By 1984, the music industry had become reliant on singles and music videos for success following the rise of MTV in the U.S. With the success of Michael Jackson's Thriller (1982), record labels wanted to turn albums into "mega-albums". The music industry historian Steve Kropper has said that Thriller created a "video-driven blueprint" to keep an album high in the charts for at least an entire year.Template:Sfn Springsteen and Landau had only envisioned one or two singles from Born in the U.S.A.. Feeling otherwise, Columbia planned "at least half a dozen" possible singles, each accompanied by dance remixes and music videos to broaden airplay, both on the radio and in clubs.Template:SfnTemplate:Sfn 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."<ref name="Pitchfork2021" /> Springsteen also conducted interviews with media outlets including People and Entertainment Weekly.Template:Sfn

Arthur Baker in 1984

The producer Arthur Baker (pictured in 1984) created extended dance remixes of three of the album's seven Template:No wrap

Born in the U.S.A. was supported by a record-tying seven top ten singles.Template:EfnTemplate:Sfn<ref name="CRR" /> The first, "Dancing in the Dark" with "Pink Cadillac" on the B-side,Template:Sfn was released on May 9, 1984.Template:Sfn It peaked at number two on the U.S. Billboard Hot 100 and spent 21 weeks on the chart.<ref name="Billboard30" /> Elsewhere, it topped the singles charts in Canada, the Netherlands, and Belgium, and also reached number four in the U.K.Template:Sfn The 12" single featured three dance remixes of "Dancing in the Dark" by the producer Arthur Baker;Template:Sfn it was the best-selling 12" single of the year.Template:Sfn "Cover Me", featuring a 1981 live recording of Tom Waits' "Jersey Girl" as the B-side,Template:Sfn was released as the second single on July 31.Template:Sfn It spent 18 weeks on the Billboard Hot 100,<ref name="Billboard30" /> reaching number seven, as well as number two on BillboardTemplate:'s Mainstream Rock chart.Template:Sfn A dance remix by Baker appeared on a 12" single.<ref name="12singlesboxset" /> "Born in the U.S.A.", backed by "Shut Out the Light", was issued as the third single on October 30.Template:Sfn It spent 17 weeks on the Billboard Hot 100, reaching number nine.<ref name="Billboard30" /> Elsewhere, it topped the charts in Ireland and New Zealand, and peaked at number two in Australia, and number five in the U.K.Template:Sfn A dance remix by Baker appeared on a 12" single in January 1985.Template:Sfn

"I'm on Fire", backed by "Johnny Bye-Bye",Template:Sfn was released as the fourth single on February 6, 1985.<ref>Template:Cite web</ref> It peaked at number six on the Billboard Hot 100 and remained on the chart for 20 weeks.<ref name="Billboard30" /> "Glory Days" followed on May 13,<ref>Template:Cite web</ref> with "Stand On It" as the B-side.Template:Sfn It spent 18 weeks on the Billboard Hot 100, peaking at number five.<ref name="Billboard30" /> The sixth single, "I'm Goin' Down", was issued on August 27,<ref>Template:Cite news</ref> backed by "Janey, Don't You Lose Heart".Template:Sfn It reached number nine on the Billboard Hot 100,<ref name="Billboard30" /> and also charted in Sweden and Italy.Template:Sfn The seventh and final single, "My Hometown", was released on November 21,Template:Sfn with a 1975 live recording of the Christmas song "Santa Claus Is Comin' to Town" as the B-side.Template:Sfn It reached numbers six and nine in the U.S. and the U.K., respectively.Template:Sfn 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 on The Born in the U.S.A. 12" Single Collection in the U.K. in 1985.<ref name="12singlesboxset">Template:Cite web</ref>

Music videos

John Seals in 2008

The filmmaker John Sayles (pictured in 2008) directed three of the album's five music videos.

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,Template:EfnTemplate:Sfn depicts a live performance of the song by Springsteen and the E Street Band. Directed by Brian De Palma, it was shot at the St. Paul Civic Center in Saint Paul, Minnesota, on June 28 and 29, 1984. In the video, Springsteen pulls a young fan, played by the then-unknown actress Courteney Cox, on stage to dance;Template:SfnTemplate:Sfn Springsteen recreated the bit frequently with young female fans throughout the tour.Template:Sfn De Palma's video introduced Springsteen to the MTV generation and helped Springsteen reach a much wider audience.Template:SfnTemplate:Sfn The filmmaker John Sayles directed the videos for "Born in the U.S.A.", "I'm on Fire", and "Glory Days".Template:Sfn 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.Template:EfnTemplate:SfnTemplate:Sfn

"I'm on Fire" was Springsteen's first narrative video,Template:Sfn starring Springsteen himself as an auto mechanic captivated by an unseen young woman in a white dress.Template:SfnTemplate:Sfn The video won the award for Best Male Video at the MTV Video Music Awards in 1985.Template:Sfn 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 guitarist Nils Lofgren, alongside new backing vocalist Patti Scialfa. The video ends with Springsteen's character playing a game of catch with his son until his wife, played by Springsteen's first wife Julianne Phillips, picks them up.<ref name="Billboard30" />Template:SfnTemplate:Sfn The video for "My Hometown" depicts a live performance of the song.Template:Sfn It was directed by Arthur Rosato and was shot towards the end of the tour at the Los Angeles Memorial Coliseum.Template:SfnTemplate:Sfn Template:Clear

Critical reception

Born in the U.S.A. received favorable reviews from music critics on release.<ref name="hotpress" /> The album was praised as an accessible record with new musical elements<ref name="Marsh">Template:Cite magazine</ref> that a few, including Robert Hilburn and Sandy Robertson, believed would please longtime fans and attract new ones.<ref name="HilburnLATimesJune" /><ref name="Sounds" /> Writing for Shreveport, Louisiana's The 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."<ref name="Fine" /> Some critics described Born in the U.S.A. as a more commercial version of Nebraska, one that is more easily digestible for a wider audience.<ref name="AtkinsonLATimes" /><ref name="HilburnLATimesJuly">Template:Cite web</ref> In Rolling Stone, Debby Miller said Born in the U.S.A. was as well thought-out as Nebraska, but with more sophistication and spirit.<ref name="Miller" />

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".<ref name="Miller" /> Cash Box anticipated Born in the U.S.A. would find success on album-oriented rock radio due to Springsteen's "special" ability to convey the lyrical messages of every song.<ref name="CashBox">Template:Cite magazine</ref> Saturday ReviewTemplate:'s John Swenson commended Springsteen for "championing traditional rock values at a time when few newer bands show interest in such a direction",<ref name="Swenson" /> while Robert Christgau of The Village Voice praised his evolution as an artist.<ref name="Christgau" /> In The 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."<ref name="HoldenNYT" /> Others praised the instrumentation, Springsteen's vocal performances,<ref name="Bohen">Template:Cite news</ref> and the performances of the E Street Band.<ref name="Times1984" /><ref name="RecordMirror" /><ref name="Bohen" />

Not all reviews were positive. Several reviewers criticized the use of similar lyrical themes as prior albums;<ref name="Times1984" /><ref name="SmashHits" /><ref name="Bohen" /><ref name="WashPost">Template:Cite news</ref> Richard Harrington of The Washington Post wrote: "The problem is that Springsteen's taken us down these mean sidestreets and through these badlands all too often since 1978's Darkness on the Edge of Town."<ref name="WashPost" /> Robertson took less issue with the similar themes, arguing that Springsteen was "polishing and perfecting his craft", making Born in the U.S.A. his best work yet.<ref name="Sounds" /> Other critics, such as Harrington and NMETemplate:'s Charles Shaar Murray, were more negative, calling the music "deadly dull" and "dry", respectively.<ref name="NME" /><ref name="WashPost" /> Harrington said that "Springsteen has become a brooding, boorish visionary, with no respite of working class advocacy or the resilient spirit of youth,"<ref name="WashPost" /> 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."<ref name="NME" /> He summarized: "No-one's going to get high on fantasy or rebellion from listening to Born in the U.S.A."<ref name="NME" />

Born in the U.S.A. was voted the best album of the year in the 1984 Pazz & Jop critics poll.<ref name="P&J">Template:Cite news</ref> 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.<ref>Template:Cite news</ref><ref>Template:Cite news</ref> NME, in their end-of-the-year list, placed it at number two, behind Bobby Womack's The Poet II.<ref>Template:Cite web</ref> In Rolling Stone, Springsteen and the E Street Band won artist and band of the year, album of the year for Born in the U.S.A., and single and music video of the year for "Dancing in the Dark".Template:Sfn At the 27th Annual Grammy Awards in 1985, Born in the U.S.A. was nominated for the Grammy Award for Album of the Year, while "Dancing in the Dark" was nominated for Record of the Year and won the award for Best Rock Vocal Performance, Male.<ref>Template:Cite web</ref> "Born in the U.S.A." was nominated for Record of the Year at the following year's ceremony.<ref>Template:Cite web</ref>

Tour

Template:Main Template:Multiple image Springsteen and the E Street Band supported Born in the U.S.A. on the Born in the U.S.A. Tour, which ran 156 concerts from June 29, 1984, to October 2, 1985.Template:Sfn Rehearsals began in early May 1984. At that point, the E Street Band had not performed together in two and a half years.Template:Sfn The lineup included returning members Bittan, Clemons, Tallent, Federici, Weinberg;Template:Sfn Nils Lofgren, who replaced Van Zandt as a second guitarist;Template:Sfn and Patti Scialfa, who was hired by Springsteen as a backing vocalist four days before the tour began.Template:SfnTemplate:Sfn 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.Template:Sfn

The tour began in Saint Paul, Minnesota, where the video for "Dancing in the Dark" was filmed.Template:Sfn 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 from Nebraska. The second set was primarily songs written after NebraskaTemplate:'s release, such as "Dancing in the Dark", "No Surrender", and "Bobby Jean".Template:Sfn Unlike previous tours, the setlists for the Born in the U.S.A. Tour typically remained the same every night, with few exceptions.Template:Sfn

Springsteen attracted political attention during the initial U.S. leg when the conservative political commentator George Will attended the show in Largo, Maryland, on August 25. Will published a column in The 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."Template:SfnTemplate:SfnTemplate:Sfn Less than a week after the column's publishing, President Ronald Reagan, in the middle of his reelection campaign, praised Springsteen's "patriotism" during a campaign rally in Hammonton, New Jersey. Springsteen responded dismissively to Reagan's comments two days later during a show in Pittsburgh,Template:SfnTemplate:Sfn and from around this time he began taking time at his shows to talk about his socialist ideology. Starting in November he donated some concert proceeds to local charities or community organizations.Template:Sfn

The initial American leg of the tour ran through January 1985.Template:Sfn During the break, Springsteen flew to Los Angeles to participate in the recording of the charity single "We Are the World" with other recording artists including Huey Lewis, Michael Jackson, and Lionel Richie.Template:SfnTemplate:Sfn The tour continued from late March to July around the world with shows in Australia, Japan, Europe, and the U.K.Template:Sfn Springsteen married his first wife Julianne Phillips in May,Template:Sfn between the Oceania and European legs.Template:Sfn The European leg drew large crowds, including a 100,000 attendance in Ireland and three sold-out shows at Wembley Stadium in London.Template:Sfn The final U.S. leg ran from August to October 2,Template:Sfn ending with four consecutive shows at the Los Angeles Memorial Coliseum.Template:Sfn The tour's massive success led to the creation of Springsteen's first live album, Live 1975–85, released in November 1986.<ref name="CRR" />Template:Sfn

Springsteen and the E Street Band performed the full Born in the U.S.A. album during a show at the Hard Rock Calling Festival in London at Queen Elizabeth Olympic Park on June 30, 2013. A DVD of the full performance, titled Born in the U.S.A. Live: London 2013, was packaged with Amazon pre-orders of Springsteen's 18th studio album High Hopes in January 2014.<ref>Template:Cite magazine</ref> Besides the 2013 London concert, Springsteen performed the entire Born in the U.S.A. album in 2009 at shows in East Rutherford and Philadelphia,<ref>Template:Cite web</ref> several other concerts in 2013 including in Munich, Milan, and Rio De Janeiro,<ref>Template:Cite web</ref> and in 2014 in Melbourne and Auckland.<ref>Template:Cite web</ref>

Legacy

Impact on Springsteen

Born in the U.S.A. made Springsteen a superstarTemplate:Sfn<ref name="UCRBest">Template:Cite web</ref> and brought him his largest amount of success to date as a recording and performing artist,Template:Sfn touching off a wave of what the author Chris Smith termed "Bossmania".Template:Sfn Although he had been a well-known star before its release, Larry Rodgers wrote in The 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 for Born in the U.S.A. that he became an American pop icon".<ref name="Rodgers">Template:Cite news</ref> 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".Template:Sfn StereogumTemplate:'s Ryan Leas later called the album "one of the defining records of the '80s".<ref name="Stereogum">Template:Cite web</ref>

Template:Quote box Despite Born in the U.S.A.Template:'s commercial success, Springsteen was initially wary of his newfound fame and attention.<ref name="LoderInterview" /> He later expressed reservations about the album, writing in his 2003 book Songs, "I put a lot of pressure on myself over a long period of time to reproduce the intensity of Nebraska on Born in the U.S.A. I never got it."Template:Sfn 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".Template:SfnTemplate:Sfn 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.<ref name="Consequence" /> 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.Template:Sfn The album also created a generational divide between new fans acquired from its success and fans of Springsteen's older works.Template:Sfn

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.Template:Sfn 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.<ref name="RSinterview1992">Template:Cite magazine</ref> For Tunnel of Love (1987), the follow-up to Born 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.Template:SfnTemplate:SfnTemplate:Sfn He used the E Street Band sparingly on the album before disbanding the group in 1989.Template:SfnTemplate:Sfn In the 1990s, Springsteen ignored dominant music trends, such as grunge and alternative rock,Template:Sfn as he created the music he wanted to make despite being aware of the potential commercial shortcomings.<ref name="RSinterview1992" /> His albums during this period, Human Touch, Lucky Town (both 1992), and The Ghost of Tom Joad (1995), suffered commercially as a result.Template:Efn The author Steven Hyden argues that it was not until his and the E Street Band's Reunion Tour from 1999 to 2000, and the accompanying Live in New York City film and live album, that Springsteen re-established himself as a cultural icon.Template:Sfn The following album, The Rising (2002), was his first full-length album with the E Street Band since Born in the U.S.A. and his first to top the Billboard 200 since Tunnel of Love.Template:SfnTemplate:Sfn

Influence

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 as John Mellencamp (Scarecrow), Tom Petty and the Heartbreakers (Southern Accents), Dire Straits (Brothers in Arms), and Bob Seger.Template:SfnTemplate:Sfn Mellencamp, in particular, was accused at the time of being a pale imitation of Springsteen.Template:Sfn 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 included Don Henley (Building the Perfect Beast), Robbie Robertson (Robbie Robertson), and Bob Dylan (Empire Burlesque).<ref name="O'BrienGrammy">Template:Cite web</ref> According to Hyden, in his book There Was Nothing You Could Do: Bruce Springsteen's "Born in the U.S.A." and the End of the Heartland, which dissects Born in the U.S.A. and its impact forty years after its original release,<ref>Template:Cite news</ref> the album served as an influence for later rock bands who wanted to mimic the album's power and impact, such as the Killers with Sam's Town (2006), Arcade Fire with The Suburbs (2010), the War on Drugs with Lost in the Dream (2014), and Sam Fender with Hypersonic Missiles (2019).<ref name="O'BrienGrammy" />Template:Sfn

Retrospective reviews

In later decades, Born in the U.S.A. has generally been regarded as one of Springsteen's best records.Template:Efn Sodomsky has called it "the bold, brilliant, and misunderstood apex of Bruce Springsteen's imperial era".<ref name="Pitchfork2021" /> To Hyden, Born in the U.S.A. remains Springsteen's most iconic album in the pop-culture zeitgeist and the one that defines his persona the most broadly.Template:Sfn 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."Template:Sfn Neil McCormick of The Daily Telegraph has praised how Springsteen deftly juxtaposed this anger with a feeling of celebration, in many cases within the same track, while producing his most "tightly honed" work.<ref name="TelegraphBest">Template:Cite web</ref>

The album still attracts mixed assessments. While one critic opined the album aged well into the 2000s,<ref name="Cotter1984">Template:Cite news</ref> others have felt its production dates it to the 1980s,Template:Sfn<ref name="UCR">Template:Cite web</ref> including critics who maintain that this production was made up for by the quality of the songs, or otherwise added "historical value" to the album.<ref name="UCRBest" /><ref name="NMEBest">Template:Cite web</ref> More negatively, Q magazine's journalist Richard Williams has criticized Springsteen's exaggeration of his usual characters and themes in a deliberate attempt at commercial success, accusing the singer of irresponsibly using American patriotism and "clenched-fist bombast" to cover up the album's anti-war stance.<ref name="WilliamsQ" />

Rankings

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 in Paul Gambaccini's Critic's Choice poll of 81 critics, writers, and radio broadcasters.<ref>Template:Cite news</ref> In 2003, Rolling Stone ranked Born in the U.S.A. number 85 on their list of the 500 Greatest Albums of All Time,<ref>Template:Cite magazine</ref> 86 in a 2012 revised list,<ref>Template:Cite magazine</ref> and 142 in a 2020 revised list.<ref>Template:Cite magazine</ref> In 2013, it was named the 428th greatest album in a similar list published by NME.<ref>Template:Cite web</ref> The album was also included in the book 1001 Albums You Must Hear Before You Die.Template:Sfn The album was inducted into the Grammy Hall of Fame in 2012.<ref>Template:Cite web</ref> The same year, Paste magazine ranked it the fourth best album of the 1980s.<ref name="PasteBest">Template:Cite web</ref> In 2015, Ultimate Classic Rock included it on a list compiling the best rock albums of the 1980s.<ref>Template:Cite web</ref>

Reissues

Born in the U.S.A. was first reissued by Columbia on CD in 2000,<ref name="HungMedian" /> followed by an LP and CD reissue by Sony BMG in 2007 and 2008, respectively.<ref name="HungMedian" /> In 2015, Sony Music released a remastered version of the album on both LP and CD.<ref>Template:Cite web</ref><ref>Template:Cite web</ref> 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.<ref>Template:Cite web</ref><ref>Template:Cite web</ref>

Personnel

According to the liner notes:<ref name="liner notes" />

• Bruce Springsteen – lead vocals, guitar

The E Street Band

• Roy Bittan – synthesizer, piano, backing vocals
• Clarence Clemons – saxophone, percussion, backing vocals
• Danny Federici – Hammond organ, glockenspiel, piano ("Born in the U.S.A.")
• Garry Tallent – bass guitar, backing vocals
• Steven Van Zandt – acoustic guitar, mandolin, harmony vocals
• Max Weinberg – drums, backing vocals

Additional musicians

• Richie "La Bamba" Rosenberg – backing vocals ("Cover Me" and "No Surrender")
• Ruth Jackson – backing vocals ("My Hometown")

Technical

• Bruce Springsteen, Jon Landau, Chuck Plotkin, Steven Van Zandt – producers
• Toby Scott – engineer
• Bob Clearmountain – mixing
• John Davenport, Jeff Hendrickson, Bruce Lampcov, Billy Strauss, Zöe Yanakis – assistant engineers
• Bob Ludwig – mastering
• Bill Scheniman – engineer ("Cover Me")
• Andrea Klein – art direction, design, cover design
• Annie Leibovitz – photography
• David Gahr – additional photography

Charts

Weekly charts

Template:Album chartTemplate:Album chartTemplate:Album chartTemplate:Album chartTemplate:Album chartTemplate:Album chartTemplate:Album chartTemplate:Album chartTemplate:Album chartTemplate:Album chart

1984–85 weekly chart performance for Born in the U.S.A.

Chart (1984–85)	Peak position
Australian Albums (Kent Music Report)<ref name="auchart">Template:Cite book</ref>	1
European Albums (European Top 100 Albums)<ref name="EuroTop100">Template:Cite magazine</ref>	2
French Albums (SNEP)<ref name="FRAchart">Template:Cite webNote: user must select 'Bruce SPRINGSTEEN' from drop-down</ref>	2
Italian Albums (Musica e Dischi)<ref name="ITAchart">Template:Cite web Set "Tipo" on "Album". Then, in the "Titolo" field, search "Born in the U.S.A.".</ref>	2
Japanese Albums (Oricon)<ref name="Jachart">Template:Cite book</ref>	6
Spanish Albums (PROMUSICAE)<ref name="spachart">Template:Cite book</ref>	2

Template:Album chartTemplate:Album chart

2003 weekly chart performance for Born in the U.S.A.

Chart (2003)	Peak position

Template:Album chart

2006 weekly chart performance for Born in the U.S.A.

Chart (2006)	Peak position

Template:Album chart

2017 weekly chart performance for Born in the U.S.A.

Chart (2017)	Peak position

Template:Album chart

2019 weekly chart performance for Born in the U.S.A.

Chart (2019)	Peak position

Template:Album chart

2023 weekly chart performance for Born in the U.S.A.

Chart (2023)	Peak position

2024 weekly chart performance for Born in the U.S.A.

Chart (2024)	Peak position
Croatian International Albums (HDU)<ref>Template:Cite web</ref>	12

Year-end charts

Year-end chart performance for Born in the U.S.A.

Chart (1984)	Position
Australian Albums Chart<ref name="auchart" />	7
Canadian Albums Chart<ref>Template:Cite magazine</ref>	1
Dutch Albums Chart<ref>Template:Cite web</ref>	61
German Albums (Offizielle Top 100)<ref>Template:Cite web</ref>	39
Japanese Albums Chart (Oricon)<ref name="Jachart" />	53
New Zealand Albums (RMNZ)<ref>Template:Cite web</ref>	2
UK Albums Chart<ref name="UKYearend84">Template:Cite web</ref>	37
US Billboard Top 200 Albums<ref>Template:Cite magazine</ref>	28
Chart (1985)	Position
Australian Albums Chart<ref name="auchart" />	2
Austrian Albums Chart<ref name="atyearend">Template:Cite web</ref>	3
Canadian Albums Chart<ref>Template:Cite magazine</ref>	7
Danish Albums Chart<ref>Template:Cite news</ref>	5
Dutch Albums Chart<ref>Template:Cite web</ref>	1
French Albums Chart<ref>Template:Cite web</ref>	19
German Albums (Offizielle Top 100)<ref>Template:Cite web</ref>	1
New Zealand Albums (RMNZ)<ref>Template:Cite web</ref>	1
Swiss Albums Chart<ref>Template:Cite web</ref>	4
UK Albums Chart<ref name="UKYearend80s">Template:Cite web</ref>	4
US Billboard Top Pop Albums<ref>Template:Cite magazine</ref>	1
Chart (1986)	Position
Canadian Albums Chart<ref>Template:Cite magazine</ref>	67
Spanish Albums Chart<ref name="spachart" />	11
US Billboard 200<ref>Template:Cite magazine</ref>	16
Chart (2015)	Position
Swedish Albums (Sverigetopplistan)<ref>Template:Cite web</ref>	94
Chart (2016)	Position
Swedish Albums (Sverigetopplistan)<ref>Template:Cite web</ref>	75
Chart (2017)	Position
Swedish Albums (Sverigetopplistan)<ref>Template:Cite web</ref>	96
Chart (2018)	Position
Swedish Albums (Sverigetopplistan)<ref>Template:Cite web</ref>	98
Chart (2019)	Position
Swedish Albums (Sverigetopplistan)<ref>Template:Cite web</ref>	82
Chart (2020)	Position
Swedish Albums (Sverigetopplistan)<ref>Template:Cite web</ref>	63
Chart (2021)	Position
Belgian Albums (Ultratop Flanders)<ref>Template:Cite web</ref>	157
Swedish Albums (Sverigetopplistan)<ref>Template:Cite web</ref>	68
Chart (2022)	Position
Belgian Albums (Ultratop Flanders)<ref>Template:Cite web</ref>	156
Swedish Albums (Sverigetopplistan)<ref>Template:Cite web</ref>	92
Chart (2023)	Position
Belgian Albums (Ultratop Flanders)<ref>Template:Cite web</ref>	142
Dutch Albums (Album Top 100)<ref>Template:Cite web</ref>	72
Swedish Albums (Sverigetopplistan)<ref>Template:Cite web</ref>	54
Chart (2024)	Position
Belgian Albums (Ultratop Flanders)<ref>Template:Cite web</ref>	108
Dutch Albums (Album Top 100)<ref>Template:Cite web</ref>	36
Swedish Albums (Sverigetopplistan)<ref>Template:Cite web</ref>	26

See also

• List of best-selling albums
• List of best-selling albums in Australia
• List of best-selling albums in Italy
• List of best-selling albums in New Zealand
• List of best-selling albums in the United States

References

Sources

• Template:Cite book
• Template:Cite book
• Template:Cite book
• Template:Cite book
• Template:Cite book
• Template:Cite book
• Template:Cite book
• Template:Cite book
• Template:Cite book
• Template:Cite book
• Template:Cite book
• Template:Cite book
• Template:Cite book
• Template:Cite book
• Template:Cite book
• Template:Cite book
• Template:Cite book
• Template:Cite book
• Template:Cite book
• Template:Cite book
• Template:Cite book
• Template:Cite book
• Template:Cite book

Further reading

• Template:Cite book

External links

• Template:Discogs master